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. Arrangement of elements (on 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 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 the feeling and concept of correct location elements are 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, a huge number of visual images obey two rules: symmetry And golden section rule.
What is symmetry, I think you know. What is the golden ratio?
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 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 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.
Imagine that you have a sheet plane in front of you, absolutely not filled with any image elements. In other words, a clean slate. How is it perceived by us? Naturally, the plane of the sheet does not carry any information, it is perceived by us as meaningless, empty, not organized. But! One has only to put on it any spot, or a line, a stroke, and this plane begins to come to life. This means that our pictorial elements, any - spot, line, stroke - enter into a spatial connection with it, forming some kind of semantic link. 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.
So we get the most primitive composition, which is even difficult to call such, but this is it.
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 able to feel harmony, and what is not harmonious. Our eye is able to tell the difference between size mismatch separate parts and the whole, or vice versa - to see the full correspondence. Vision is able to perceive combinations of colors that do not irritate the eye, or vice versa - they can be completely disharmonious. I will say more, our natural instinct from the very beginning, whether you like it or not, strives for a sense of harmony in everything. And subconsciously obliges by feeling to arrange objects and their parts so that not a single part of the composition is alien or disproportionate. You only need learn to listen to your feelings and understand how to achieve harmony, that is, to compose good composition. Any.
Go ahead. Let's take some shape, for example, a circle and try to place it in different places on the plane of the sheet. We can see, we can feel that in some cases it will take a more stable position, in others it will be unstable. The picture on the left: see how our vision works - it would seem that for a circle the most stable place is the coincidence of its center with the geometric center of the sheet plane (drawing diagonal lines from corner to corner of the sheet, we get the center of the sheet at the intersection of these lines). However, that's not all. Because of optical illusion(the eye somewhat overestimates the upper and underestimates the lower part of the plane) the circle is perceived to be slightly shifted down. Do you feel how the circle is somehow 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, disharmony is felt. 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 picture on the right. Feel the stable position of the circle? He takes exactly his place in the square. Thus, our simplest composition will be more harmonious, and therefore more correct.
Understanding: the plane and the object form a kind of conditional spatial relationship 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, while the non-central parts are perceived passively. This is how we feel. Such a perception of conditional space, so our vision seeks to find peace. Understanding this is rather arbitrary, but true.
The eye seeks to see harmony in what it observes - it determines the center of our composition, which seems to it more active, everything else is more passive. This is what only the study of one clean sheet plane can give us. Moreover, this is what only the study of one square-shaped leaf plane can give us. But the principle is the same. This is what concerns the structure of the sheet plane.
But this would be - completely insufficient - to dismember the plane or to compose a composition from one element on the 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 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. The objects are strongly shifted to the left, leaving an 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? It is natural to balance the parts of the composition so that they harmoniously make up 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 that how you feel more harmonious? I think yes. What does it mean? At visual perception elements and the plane of the sheet and when analyzing their relationships: the impact is felt internal forces the structure of the plane on the nature of the behavior of the pictorial elements. What does it mean? Our elements participating in the composition interact with conditional diagonal, vertical and horizontal axes of the plane. We have achieved a stable visual balance of all components of the composition with respect to geometric center. Even if not a single figure is in the middle here, they balance each other, forming together a center where vision expects it, and therefore it is more comfortable to look at this drawing than at 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 knock down 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 the study.
You always need to 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 turn - turn your composition upside down, or 90 degrees, it should also be pleasant to view, without any hint of discomfort. And it is easier to consider that the geometric center of the composition is located at the intersection of diagonal lines or a little higher, it is in this place that the eyes, after viewing the composition itself, whatever it may be, eventually stops and finds “rest”, calms down precisely in this place, even if there is no object on it. This is a conditional place. And a harmonious composition is one when it is no longer required to either introduce new elements or remove any of it. All acting "persons" participating in a holistic composition are subordinated to one general idea.
Fundamentals of composition - static balance and dynamic balance
The composition must be harmonious and its individual sections must be balanced. Let's go ahead and understand 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 in which a circle and stripes participate. This shows the static balance of the circle and the 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 conditional geometric visual center is located at the intersection of the diagonals, the composition can also be viewed from all sides, without giving rise to disharmony.
Now look at the picture on the right. We see a dynamic balance of several semicircles and circles with highlighting of the dominant color. How is dynamic balance achieved? If you look at the hidden structure of the sheet, then in addition to the horizontal and vertical axes of the composition, you can clearly see the use of the diagonal axis. Its presence, use, gives out a red circle, which in this composition is a dominant, a dominant spot, the area to which the eye pays attention first of all. We introduce the concept composition center.
Composition center. Dominant
Compositional center, dominant, as it is understood: 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. We can say more: all other elements enhance the significance of the dominant and "play along" with it.
We have the main protagonist - the dominant and secondary elements. Secondary elements can also be divided by importance. More significant - accents, and less significant - secondary elements. Their significance is determined only by the content of the story, the plot of the composition, and so 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 the item, which is different from the shape of other items.
4. The texture of the element, which is different from the texture of other elements.
5. Colors. By applying contrast ( opposite color) to the color of secondary elements (bright color in a neutral environment, and vice versa, or a chromatic color among achromatic ones, or a warm color with a general cold range of secondary elements, or dark color among the light...
6. Developments. The main element, the dominant, is more developed than the secondary ones.
Compositional and geometric centers of the composition
Let's continue... This dominant, a conspicuous active element, is located at least not in the center of the sheet, but its weight and activity is supported by many secondary elements located diagonally further, opposite this dominant. If we 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, and diagonally. Elements are used that differ in activity from the previous composition - they are more actively located and more active in shape. Although they are elementary, on a conditional grid and the structure of the composition is simple, but besides this, the composition has a dynamic balance, as it leads the viewer along a certain trajectory.
Note: the composition on the right was not at all created with the help of paints on paper, but I really liked it, and in fact, according to by and large, it doesn't change. It's also composition. We 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 plot 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 first glance the viewer turns to composition center, dominant, but after considering it, and further after reviewing the entire composition, your eye nevertheless stopped at geometric center, right? Check it out for yourself, follow 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 a 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 rest there. And it is precisely with the successful construction of the composition, namely, correct use geometric center, it is harmoniously visible from any turn. And the compositional center - from it the composition begins to conduct a dialogue with the viewer, this is the section of the composition that allows you to control the viewer's attention and direct him in the right direction.
Static composition and dynamic composition
Here we come to the following terms that we need to consider with you. These terms differ in meaning from static equilibrium and dynamic, meaning: you can balance any composition by nature different ways. So... What is static composition? This is the state of the composition, in which the balanced elements as a whole give the impression of its steady immobility.
1. A composition based on which one can visually clearly observe the use of a hidden sheet structure for building. IN static composition there is a conditional order of construction.
2. Items for a static composition are chosen closer in shape, weight, texture.
3. There is a certain softness in the tonal solution.
4. Color solution build on the nuances - close colors.
dynamic composition, respectively, can be built in the opposite way. This is the state of the composition, in which elements balanced among themselves give the impression of its movement and internal dynamics.
I repeat: but, no matter what the composition is, 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 turn - turn your composition upside down, or 90 degrees, with general masses and color / tonal spots, it should also be pleasantly viewed, without any hint of discomfort.
Composition basics - exercises
Additional exercises can be done with gouache, as an application, colored pencils and other materials with which your soul wishes to work. You can do from the exercise that you find easiest or most interesting to the most difficult.
1. Balance on a square plane a few simple-shaped elements. Follow the same principle to compose a simple landscape motif.
2. From simple stylized motifs of natural forms, sketch a closed composition (not going beyond the picture), enclosed in a sheet format. Closed composition - action twists only in the space you use, full disclosure. In the compositions there is a move in a circle.
3. Organize by principle dynamic composition(asymmetric arrangement of figures on a plane) several triangles and circles, varying the color, lightness of the figures and the background.
4. Applying the principle of division composition elements, balance in a rectangular format several shapes of different configurations. According to this principle, perform a simple composition on an arbitrary topic.
5. From simple stylized motifs of natural forms, using the principle of division of elements, sketch an open composition. An open composition is a composition that can be developed further - in breadth and height.
6. Divide the plane of the sheet into a conditional structure according to sensation and compose a composition based on it: solution black and white.
Expressive means of composition
To expressive means of composition in decorative and applied arts relate line, point, spot, color, texture ... These tools are at the same time elements of the composition. Based on the tasks and goals set and taking into account the possibilities of a certain material, the artist uses the necessary means of expression.
The line is the main shaping element that most accurately conveys the nature of the outlines of any shape. The line performs a dual function, being both a means of representation and a means of expression.
There are three types of lines:
Straight: vertical, horizontal, oblique
Curves: circles, arcs
Curves with 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.
Lines transmit:
Vertical - striving up
Inclined - instability, fall
Polylines - variable movement
Wavy - uniform smooth movement, swing
Spiral - slow rotational movement, accelerating towards the center
Round - closed movement
Oval - the aspiration of the form to tricks.
Thick lines protrude forward, while thin lines recede into the depths of the plane. Performing sketches of the composition, they create combinations of certain lines, spots, stimulating the manifestation of its plastic and color properties.
Dot - as one of the expressive means is widely used in many works of decorative and applied art. It helps to reveal the texture of the image, the transfer of conditional space.
The spot is used for the rhythmic organization of non-pictorial ornamental motifs. Spots of various configurations, organized into a certain composition, acquire artistic expressiveness and, emotionally influencing the viewer, evoke an appropriate mood in him.
Artists in their works often use as pictorial elements geometric figures: circle, square, triangle. Compositions from them can symbolize the movement of time, the rhythms of human life.
The rhythmic organization of ornamental motifs from non-pictorial elements (spots of abstract configuration, silhouettes of geometric figures), combined into compositional structures, becomes a means artistic expressiveness.
More composition tools
1. Subordination: in the first second, a person begins to perceive the composition as a silhouette image against a certain background: silhouette area, drawing contour line, degree of compactness, tone, color, surface texture and so on.
2. Symmetry and asymmetry: An effective means of achieving balance in the composition is symmetry - the regular arrangement of form elements relative to a plane, axis or point.
Asymmetry - the harmony of an asymmetric 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), uses asymmetry to highlight the main elements of the composition.
3. Proportions are the quantitative relationship of the individual parts of the 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 articulations of forms.
4. Nuance and contrast: nuance relationships - slight, weakly expressed differences in objects in size, pattern, texture, color, location in sheet space. As a means of composition, nuance can manifest itself in proportions, rhythm, color and tonal relationships, and plasticity.
Contrast: it consists in a pronounced opposition of the elements of the composition. The contrast makes the picture noticeable, distinguishes it from others. There are contrasts: directions of movement, size, conditional mass, shape, color, light, structure or texture. With a contrast of direction, the horizontal is opposed to the vertical, the slope from left to right is the slope from right to left. With a contrast of size, high is opposed to low, long to short, wide to narrow. With mass contrast, a visually heavy element of the composition is located close to the light one. With the contrast of the forms, "hard", angular forms are contrasted with "soft", rounded ones. With the contrast of light, 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, their alternation, increase or decrease. The simplest pattern on the basis of which the composition is built is the repetition of elements and intervals between them, called modular rhythm or metrical repetition.
The metric series can be simple, consisting of one element of the form, repeating 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 combination of several metric series, combined into one composition, greatly enlivens the form. In general, the metric order expresses static, relative peace.
A certain direction can be given to the composition by creating a dynamic rhythm, which is based on the laws of geometric proportions by increasing (decreasing) the size of similar elements or on a regular change in the intervals between the same elements of a series (a - e). A more active rhythm is obtained by simultaneously changing the size of the elements and the intervals between them (e).
With an increase in the degree of rhythm, the compositional dynamics of the form intensifies in the direction of thickening the rhythmic series.
To create a rhythmic series, you can use a regular change in color intensity. Under 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 an element. When the size of the elements changes, the color can enhance the rhythm, if its intensity grows simultaneously with the increase in the size of the elements, or visually balance the rhythm, if the color intensity decreases with the increase in the size of the elements. The organizing role of rhythm in composition depends on relative magnitude the elements that make up the rhythmic series, and on their number (to create a series, you need to have at least four or five elements).
Warm bright colors used to identify the active elements of the composition. Cool colors visually remove them. Color actively affects the human psyche, is able to cause a variety of feelings and experiences: to please and upset, invigorate and oppress. Color acts on 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 a color belonging to the middle part of the spectrum (yellow-green region). The colors of this region give a more stable color perception, and the extreme parts of the spectrum (violet and red) cause the greatest eye fatigue 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 an exciting effect, accelerate the vital processes of the body. Passive colors (blue, purple) have the opposite effect: they soothe, cause relaxation, and reduce efficiency. Maximum performance is observed when the green color is active.
The natural human need is to color harmony = subordination of all the colors of the composition to a single compositional idea. The whole variety of color harmonies can be divided into nuance combinations based on rapprochement (identity of tonality, lightness or saturation), and contrast combinations based on opposition.
There are seven variants of color harmony based on similarity:
1. the same saturation with different lightness and color tone;
2. the same lightness with different saturation and color tone;
3. the same color tone with different saturation and lightness;
4. the same lightness and saturation with a different color tone;
5. the same color tone and lightness with different saturation;
6. the same color tone and saturation at different lightness;
7. the same 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 are additional colors(for example, red with cool green, blue with orange, violet with yellow ...) or from triads that include colors equidistant on color wheel(for example, yellow, magenta, green-blue, red, green, and blue-violet). Color harmony is formed not only by combinations of chromatic colors, but also by saturated chromatic with achromatic (blue and gray, brown and gray, and so on).
More exercises...
1. Draw a natural motif with a line and a spot
2. Perform a thematic composition using graphic means of expression - line, spot, dot
3. From objects freely placed in space, make a balanced still life composition, without resorting to perspective reductions of objects and spatial plans
8. Dismember the plane of a circle inscribed in a square (black and white solution), and make a rappoport composition from the dissected circles. 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 impel us to create it. These forces are much stronger and more efficient, than you would thoroughly and spending many hours studying the technical aspects of its creation, but sparingly investing even a drop of your soul into the process. It is a strong motivation, an impelling force. You are an artist, regardless of what knowledge and skills you have and at what stage of development you are. Are you an artist, creative person. Before creating a composition, any, you hatch an idea, think, feel emotions, observe its creation even within yourself. Some of us dream about it, some of us day by day are under the influence of this magical process, sometimes it just prevents us from living like all ordinary people, because we create it from the very beginning still inside ourselves. Any composition, any creation is a sublimation of those sensations and experiences that accompany the artist and grow in him, in his mind. And then, one day, at one moment, you understand that here it is, creation, it can now be born into the world, and you finally understand what you must do. And the composition is born. Now nothing can stop your creative process. But by and large, the composition is the mood of the artist, thoughts, the very idea that he splashes onto the lifeless plane of a sheet or canvas, forcing them to LIVE their own, original life, unlike everyone else. And even if the artist is not very strong in studying the laws of drawing up a composition on a sheet, the creative power of creation is many times stronger, everything else will come with time. Don't be afraid to express your thoughts and feelings. Daring and simple, mysterious and evil, joyful and fantastic.... no one will tell about your thoughts better than you.
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, but of different sizes, can be used in the composition. These are the so-called compositions with scaling (since 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 of individual elements of the 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, to correctly determine the disclosure of all faces and the direction of all lines on the sheet, use various ways streamlining all these interrelated positions, bringing them into 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 next rule: a geometric body should crash into another (or other) geometric bodies by no more than half, better - by 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.
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Learn the basics of architectural drawing
The cornerstone in architectural education is the knowledge of the fundamentals of architectural drawing. Even though I didn't get into architecture this year, I didn't give up the idea of becoming an architect and I will slowly but surely move towards my goal.
So, in front of me is the book "Drawing by Representation. From Geometry to Architecture". Starting today, I will begin to study this book thoughtfully and diligently, practicing drawing every day. I commit to spend 1.5-2 hours a day drawing from a book (exceptions: unforeseen circumstances, days off, travel and situations where I can't use the tools and tutorial) and show the community my work. I will not rush much, and I will set the deadlines approximately, with a large margin. The deadline is March 6 next year.
Goal Accomplishment Criteria
The book has been studied: all tasks have been completed, photos of the work have been posted on the site.
personal resources
Time every day, paper, tools, book.
Part 1. Initial exercises
Section 1 Drawing Straight Lines
- Straight line pattern
- Drawing parallel straight lines
- Drawing straight lines "from point to point"
- Division of straight lines into equal segments
- Division of angles into equal parts
- Line drawing
Section 2 Drawing curved lines
- curved line pattern
- Draw curved lines by anchor points
- Ornament pattern based on a circle
- Ellipse drawing
- Ellipse pattern
Part 2. Perspective of a square and a circle
- Perspective diagram
- Drawing a square in perspective
- Drawing of a square circumscribed around a circle in perspective
Perspective of simple geometric solids
Section 5. Perspective drawing of a cube and a tetrahedral prism
- Perspective cube drawing
- Drawing of nine cubes
- Linear-constructive drawing of a composition of cubes according to the plan and facade in frontal and angular perspectives
- Linear-constructive drawing of a composition of cubes in perspective
- Linear-constructive drawing of a composition of cubes and tetrahedral prisms in perspective
Section 6. Pyramid and Hexagon Perspective
- Linear-constructive drawing of a pyramid
- Linear-constructive drawing of a hexagonal prism
Section 7. Cylinder, Cone, and Ball Perspective
- Linear-constructive drawing of a cylinder
- Linear-constructive drawing of a cone
- Section of a cylinder and a cone by planes parallel to the bases
- Section of a cone by parallel planes perpendicular to its base
- Drawing of cylinders of different diameters stacked on top of each other
- Linear-constructive drawing of the ball
- Section of a ball by parallel planes
- Drawing of a ball standing on a cube
- Drawing of a cube circumscribed inside a sphere
Part 4. Tonal drawing
Section 8. Tone. Initial exercises
- Hatching tonal spots
- Hatching flat figures
- Tonal scale made in hatching technique
- Shading flat figures
- Hatching in the technique of "wide stroke"
- Planar composition of polygons
Section 9. Black and white drawing of simple geometric bodies
- Tonal drawing of a cube
- Tonal drawing of a tetrahedral prism
- Tonal drawingpyramid
- Tonal drawing of a cylinder
- Tonal drawing of a cone
- Tonal ball pattern
- Tonal drawing of a stepped cone
- Tonal pattern of illuminated surfaces
- Tonal pattern of shadow surfaces
- Tonal drawing of a composition of four cubes
Part 5. Inserts of geometric bodies
Section 10
- Inset cube and tetrahedral prism
- Inset cube and pyramid
- Inset cube and hexagonal prism
- Cube and Cylinder Inset
- Cube and Cone Inset
- Insertion of a sphere and a cube according to given orthogonal projections
- Cube and ball with a common center
- Insertion of a sphere and a cube, when the cutting planes of the cube do not pass through the center of the sphere
Section 11. Complex tie-ins.
- Oblique section of a hexagonal prism
- Inset of two hexagonal prisms
- Oblique section of the pyramid
- Inset pyramid and hexagonal prism
- Inclined section of the cylinder
- Cylinder and hexagonal prism insert
- Pyramid and Cylinder Insert
- Inclined section of a cone
- Cone and hexagon insert
- Inset Cone and Pyramid
- Inclined section of the ball
- Hexagonal prism and ball inset
Composition of simple geometric bodies
Section 12
Any drawing begins with the compositional placement of images on a sheet of paper. The overall impression of the picture largely depends on how this or that image is arranged. It is necessary to study the principle of the arrangement of objects on a plane.
Word composition translated from Latin, literally means drawing up, binding, connecting parts. The construction of a work of art, due to its content, character and purpose, and largely determining its perception. Composition is the most important organizing moment of the artistic form, giving unity and integrity to the work, subordinating its elements to each other and to the whole. In the process of creating a decorative composition, the placement and distribution of pictorial elements occurs according to a certain scheme in a logical sequence laid down by the author. Visual means and stylistic features must be coordinated, subordinated to the whole, while we must not forget the details that play a very important role.
In other words, composition is the correct distribution of objects on a sheet: the selection of the main object, the filling of the entire plane of the sheet, the balance of the right and left edges, the presence of a common plan or idea. Before something can be drawn, the artist must come up with it.
1st tip:
To create an emotional and figurative composition, one must observe and see interesting events, characters, motives and different states of nature in the surrounding life. All this makes it possible to build interesting and original compositions.
2nd tip:
When choosing a composition format, it is necessary to take into account that:
The format stretched upwards will make the image slim and sublime;
The horizontal format conveys a sense of the frame, breadth and boundlessness of space;
The square format is best used to create balanced, static compositions;
The oval format is used for depicting a portrait of a person, since its configuration is easily correlated with the oval of the face or the contour of the chest image;
In a round format, a floral or plant composition is well arranged.
3rd tip:
Avoid the following mistakes:
Do not put anything on the very edge of the sheet, the exception is an object starting from the edge of the sheet and made in fragments;
Items should not touch the side and top edges of the sheet;
Don't draw everything too small;
Don't make things too big.
4th tip:
Remember the laws of perspective. An object that is closer to us in perspective is depicted on the plane of the sheet below. And the one that is farther from us is higher. So, closer - lower, further - higher.
5th tip:
When working in color, think about the laws of aerial perspective. Highlight the center of the composition with a spot and color. Work on the objects in the foreground in detail and highlight them with brighter, richer colors, but not louder than the center of the composition. The closer to the horizon line, the more the brightness and temperament of the color weakens, it becomes more chilly and transparent. Write distant plans with bluish, violet, blue, gray, silvery colors.
6th tip:
Getting Started last stage work - generalization, check:
Is the center of the composition highlighted in color or tone;
Has the first plan been worked out in detail;
Is the first plan highlighted in color;
Does anything break out of the general idea of the composition;
Are both parts of the composite sheet balanced;
Are the laws of aerial perspective observed;
Does the composition attract the eye, is it pleasant to look at.
A correctly constructed composition cannot cause doubts and feelings of uncertainty. It should have a calming eye clarity of relationships, proportions.
