Creativity & Hobbies

Learn the basics of architectural drawing

Foundation stone in architectural education - knowledge of the basics of architectural design. 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.

1. 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

2. 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

3. 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

4. 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

5. 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

6. 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 to the last stage of 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.

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 children school age. 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 textbook "Drawing of Geometric Bodies" designed 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 to teach children, analyze their 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. Learning tasks are considered - 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 to 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, knowledge of the features of our visual perception is necessary. Without this, it is impossible to understand why the objects around us in many cases do not appear to us as they really are: parallel lines seem to converge, right angles are perceived 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 distance from him.

Three-dimensionality, volume, shape

Every object is defined by three dimensions: length, width and height. Its volume should be understood as its three-dimensional value, limited by surfaces; under the form - the 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. Already 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 forms. 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 conditions and environment. 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 understanding that the line in the drawing is the result hard work above the form, they usually resort to a flat, and 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 copy it mechanically, 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.

Drawing from life should keep in mind that with the same size horizontal lines appear longer than vertical. 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""penetrating glance") - exact science, which teaches to depict objects on a plane surrounding reality so that the impression is created, 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 arranged conditionally 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.

In 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, everything colorful variety nature, especially festive elegant costumes, diffused lighting, excluding clear chiaroscuro, the transfer of the environment - all this puts forward a number of tasks for the draftsman, as it were, of a picturesque nature, the solution of which with the help of chiaroscuro alone is impossible.

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

If we take, for example, yellow and blue, then being in the same lighting conditions, they will appear one light, the other dark. Pink 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, it is necessary to take into account the visual possibilities of 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 determining the general nature of the form; 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 milestones, and each step can include smaller drawing steps.

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

one). 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 get acquainted with nature, note its characteristic features, 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. It complicates analytical work 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. On final stage work, it is desirable to return to a fresh, original perception.

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 separate, insignificant details of an object observed by the draftsman often obscure the integral image of 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.

one). 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 a drawing, determine the ratio of height and width overall composition all geometric bodies in general. 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) The third and last stage is the creation of 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 from the side of the window).

Cube

one). 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 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 arranged conditionally 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

one). 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. Close 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 tutorial describes the image complex composition from 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 from 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.

one). 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 arranged conditionally 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. Close 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. Close 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" v. 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", "A Concise Dictionary of 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 the 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

TASK 1. Implementation of layouts of simple geometric bodies (Fig. 1). Goal: To master the primary motor skills of prototyping. Tasks: To get acquainted with the basic initial techniques for making models of three-dimensional forms.

Requirements: Make models: cube (8×8 cm), cylinder (diameter 8 cm, height 16 cm), pyramid (side 8 cm, height 16 cm), cone (diameter 8 cm, height 16 cm) according to the proposed samples. guidelines: The cube and pyramid shown in the diagram (Fig. 2) are glued end-to-end with PVA glue. In order for the fold lines on the edges of the cube and pyramid to be even and clear, it is necessary to make a notch along the fold line on the outside of the paper. The notch is made at 0.5 of the thickness of the sheet of paper, this should be done easily so as not to cut through the paper. Then you need to bend the paper along these lines and glue the joints.

The bases of the cone and cylinder (circle) are cut with a knife and trimmed with scissors. The circle can also be cut with a meter, if one of the needles is very well sharpened. An additional valve can be provided for gluing the side surfaces of the cone and the cylinder. In order for the side surface of the cylinder to bend evenly, notches can be applied to its pattern at regular intervals (5 mm). Even curvature can also be obtained by twisting parts between two sheets of film used for x-rays.

In all the source drawings below, certain conventions are adopted: the thickest line corresponds to the line of the main contour and cuts through; the dotted line is an invisible contour, it must be cut from the wrong side; the thinnest line corresponds to the notch on the front side.

In order for the quality of the layout to be high, it is necessary to make a very accurate drawing, make notches and cuts, and carefully erase the traces of the pencil. Sometimes you can not use a pencil, but make injections with a meter in the right places. First, notches are made on the patterns, and then through cuts.

TASK 5. Plastic solution of two faces of a cube using metrorhythmic patterns. purpose: The study of some properties of a three-dimensional form: geometric appearance, mass, position in space, chiaroscuro, etc.

Tasks: Learn the CONCEPTS of frontal and volumetric composition.

To master the techniques of creating plastics of volumetric surfaces.

Requirements: Create a frontal composition, as part of a three-dimensional structure, turned to the audience by the main facade (static perception). The size of the cube is 10 × 10 cm, the depth of plasticity should not exceed 5 cm. Orient the cube in space to the main direction of perception due to the rhythmic articulation of its surface (Fig. 16-20). guidelines: COMPOSITION center can be located on one of the faces of the cube or on its edge. The plastic divisions of the cube must be made in such a way that, during transformation, they turn into the plane of a sheet bounded by the contours of the pattern.

The examples show that as the plasticity increases, space is introduced into the main volume of the cube. The volume has a predominant orientation to the main point of perception. Depending on the location and nature of the divisions (angular, central, symmetrical, asymmetric), the perception of the volume itself in space, its orientation towards the viewer, also changes.

Figure 20

TASK 6. Plastic solution of the cube surface (ill. 21-23). goal and objectives see task 5. requirements: Plastically solve the cube as a three-dimensional form, viewed from all sides. To trace a single compositional idea in solving the plastics of all faces. Cube size 10×10 cm.

Methodical instructions: The composition provides for perception from all sides, which does not exclude the main direction of movement towards this volume.

On the examples you can see different options for solving the plastic surface of the cube, from weak to deep relief.

Models of cylindrical volumes were solved on the same principle as cubes.

IN TASK 7. Rhythmic divisions of the surface of the cylinder. goal and objectives, see task 6. requirements: Determine the volume of the cylinder for

Account of the plastic development of it on top - | ness (ill. 24-26). Base diameter 10 cm, height 18 cm.

Methodical instructions: The layout is glued by the butt method. The plastic solution of the surface is achieved with the help of notches, slots, bends.

FORMATION OF VOLUMETRIC FORMS WITH THE HELP OF RHYTHMIC ELEMENTS

Consider another possibility to get a three-dimensional form from a sheet of paper without glue. The drawing (Fig. 28) shows geometric patterns cuts in the form of circles and squares. By cutting and bending individual parts, you can create a hemisphere and a pyramid (Fig. 27). The shape of the pyramid is built from mutually perpendicular triangular plates of different sizes. It creates the impression of volume and space inside it. The rhythmic pattern of slots on the horizontal surface of the base determines the orientation of the volume of the pyramid in outer space in relation to the viewer. Organized movement around the pyramid and the direction of the main movement inside it.

This technique can be used to divide surfaces and penetrate into the interior space of a volume. In this case, different impressions are achieved from the solution of the surface and the degree of spatial disclosure of the form itself.

Figure 29

TASK 8. Dividing a three-dimensional form with the help of rhythmic elements. goal: To study the properties of three-dimensional forms: geometric appearance, size, mass, position in space.

Objectives: To trace how the properties of a geometric shape change depending on the degree of its division and the nature of the elements used for division. requirements: Make layouts of three-dimensional forms from rhythmic elements according to the proposed samples (ill. 27-29). Develop one of the volumetric forms (cube, pyramid, tetrahedron) using rhythmic spatial elements (ill. 30-33). guidelines: Elements, as parts of a plane, can change according to rhythmic patterns and bend outwards or inside the main volume. It is necessary to bend the elements only after gluing the main volume, so as not to wrinkle the parts to be bent.

An interesting opportunity opens up to study the spatial combinations of different geometric shapes: cube, pyramid, hemisphere, tetrahedron.

Depending on the number, size, location of the articulating elements, a different degree of change in the initial mass of the main volume is obtained. From a deaf, static, form can turn into a light, openwork, having its own inner space. When the volumetric form is smooth, its surface is not developed, then the internal space is not readable. If the surfaces are articulated, cut through, then spatial openings appear, the internal space of the most voluminous form begins to emerge.

One of the Bauhaus teachers, Mogol-Nagy, considered space as the result of the development of massive form. Here are some of the transformation steps he thinks are going on with a simple form along the way of turning a solid array into a spatial form:

Extreme massiveness, integrity of the undivided volume;

Whole form, but already plastically transformed;

A form that preserves the compositional integrity of the construction with the active inclusion of space.

On these tasks, the primary properties of three-dimensional forms are studied: size, proportions; geometric view; position in space; mass as a state that varies from the greatest massiveness to the maximum spatiality; chiaroscuro. Such compositional means as nuance, contrast, plastic rhythm are used.

Choose one or two best sketch and enclose them in frames, the proportions of which correspond to the proportions of the future drawing. So, an A-3 sheet measuring 30 by 40 centimeters has a 3 to 4 prop (Figure 172). In search of the most successful composition of the sheet, you may have to correct the point of view, and in some cases even make changes to the setting itself.

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

Stage 1

Figure 173 Starting a drawing on a large sheet, try to accurately transfer to it the arrangement of objects fixed in the best sketch. Mark the location of each geometric body with light lines. Once again check the size of the entire composition, as well as its compliance with the size of the sheet. Make the necessary changes to the drawing and continue working, refining the size of each geometric body in relation to other bodies and to the entire composition as a whole.

Stage 2

Figure 174. Linearize all geometric bodies. In the course of work, pay special attention to the correspondence of the disclosure of squares and ellipses lying in horizontal and vertical planes.

Stage 3

Figure 175. At this stage, it is necessary to strengthen those lines that are closer to the viewer, so you will create the effect of the depth of space already in the linear-constructive drawing. Mark the lines of your own and falling shadows and cover all the shadows with a light stroke.

Stage 4

Figure 176. Continue working in the shadows, making them more intense towards the viewer and the light source, and the falling shadows also towards the subject that casts the shadow. Gradually move on to work in the light. Carefully model the shape using knowledge of the distribution of light and shade on geometric bodies. On round surfaces, create smooth light and shade transitions; on bodies formed by planes - sharp and clear.

Comparing the light and dark tones of gypsum in nature, one must strive to correctly convey their relationship in the drawing, however, one must also be aware of special techniques that help the draftsman create a sense of three-dimensional space on a flat sheet:

1. Separation of the tonal scale into light and shadow parts: in the figure, the lightest place in the shadow should be darker than the darkest place in the light, in other words, the shadow should always be darker than the light. In nature, this is not always the case. For example, when a sufficiently well-lit surface is near the production, the reflections from it in nature can be as bright as light. They need to be “dampened” by making them darker, otherwise they will destroy the shape of the objects depicted in your drawing.

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

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

Stage 5

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

Chapter 70

Chapter 72

black and white drawing of simple geometric bodies 73

Chapter 74

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

Make a sketch of the composition, observing the given proportions of geometric bodies (Fig. 178). Determine the general nature of the future composition, the position of the horizon line, the direction of the horizontal edges, the main tie-ins. We will immediately warn you about a typical mistake that is often made by those who work on their first composition by submission. Placing geometric bodies on a sheet, a novice draftsman quite freely places round bodies next to each other (for example, a ball and a cone) or round bodies and bodies that have inclined planes(for example, a ball and a hexagonal prism). The insertion of such bodies into each other is very complex. Taking into account the limited time for completing the examination task, it would be more correct to use simple inserts in the composition, when round bodies and bodies with inclined surfaces intersect horizontal and vertical planes.

Do not overly carefully draw a sketch - on a small scale, you still can not solve all compositional issues. Even a very detailed sketch cannot be accurately transferred to a large sheet. Secondary and insignificant elements will inevitably undergo quite serious changes, and therefore it is not worth paying attention to them. excessive attention at the sketching stage. Enclose the sketch in a frame of appropriate proportions (3x4), make the necessary adjustments to the composition and start working on a large format sheet, trying to keep the main idea defined in the sketch, the main patterns and movements of large masses.

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

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

black and white drawing of simple geometric bodies

black and white drawing of simple geometric bodies 77

black and white drawing of simple geometric bodies 70

Chapter 80

Chapter IV. drawing of architectural details

Architectural details include architectural profiles (gooseneck, heel, shaft, quarter shaft, fillet, scotia), geometric and floral ornaments, capitals, rosettes, vases, ionics, brackets, supporting and locking stones of arches, entablature. From all this variety, to complete educational drawings at evening preparatory courses MARCHI selected vase, capital and ionic.

When starting to draw an architectural detail, first determine its geometric basis, imagine a complex shape as a combination of simple geometric bodies. Having depicted a simplified diagram in perspective on a sheet, gradually complicate it, saturating it with details and carefully studying individual elements in a linear-constructive drawing. Plan paired symmetrical volumes at the same time, under this condition it is easier to follow the promising reductions. If the image of any part of the architectural detail causes you some difficulties, make small sketches of it in the margins of your drawing - perspective sketches with different points and orthogonal projections. Finishing the linear stage, enter into drawing easy tone, having previously outlined the lines of own and falling shadows: this will allow you to refine the main masses and reveal possible mistakes before starting tonal work.

Chiaroscuro on architectural details is also distributed according to the laws of drawing simple geometric bodies. On curved surfaces, the transitions from light to shadow are soft, gradual, on faceted surfaces - sharp, clear. The closer the light and shadow on the object to the drawing and the light source, the stronger the light-and-shadow contrast, and, conversely, the distant parts of the objects have a dimmer light and a faded shadow. Falling shadows are more saturated with tone, own ones are highlighted by reflexes, and therefore more airy and transparent. Both in a linear-constructive and in a black and white drawing, try to work evenly over the entire sheet, constantly comparing individual parts of the image with the whole. At the final stage, refine the tonal solution and summarize the work, striving for a sense of completeness and harmony.

Vase drawing.

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

Start drawing a vase, as you would drawing any complex architectural detail, by analyzing its shape. Carefully examine the vase (Fig. 184). Mentally divide it into separate volumes and compare them with simple geometric bodies. The body of the vase has a complex drop-like shape, which can be conditionally represented as a combination of two balls and a cone, so the contour of the vase body can be divided into three parts in height, each of which has its own curvature. The neck of the vase is similar to a cylinder, which has a noticeable thinning in the middle, and is bounded above and below by narrow shelves. The vase is crowned with a massive neck in the shape of a quarter shaft. The supporting part (base) of the vase consists of two cylinders of different diameters, connected by a gooseneck profile. The handles of the vase have a complex three-part structure and thicken at the points of attachment to the neck and body of the vase.

Continuing the study of nature, make a drawing of the frontal projection of the vase. To do this, you will have to use not only the sighting method, but also a long strip of paper and even a ruler. The projection should be large enough, only then you will be able to reflect in it all the information you received: the proportional ratio of the main masses, the dimensions of individual parts in height and width.

drawing of architectural details 81

rine, their relationship, subordination and functional validity. Try to accurately convey the proportions of the vase, note how many times its width fits in height, how many times the neck fits in the body of the vase horizontally and vertically, etc. (Fig. 185).

When depicting the facade of the vase, you will notice that in this projection the neck of the vase looks too thick, the body is more massive, the base is lighter and more elegant than in nature. Of all the modes of depiction, perspective is the closest to real perception. human eye. The orthogonal projection of an object is always different from its perception in nature. But it is orthogonal projections, due to their accuracy and information content, that will help you now. the best way study a complex architectural form, and in the future will become a convenient and natural means of your professional communication.

Let's get back to nature. As you have already noticed, the main volume of the vase is a symmetrical shape. All its horizontal sections are circles of different diameters with the center lying on the same vertical (the axis of the vase). In a perspective drawing, these circles are depicted as ellipses of various sizes and openings. The minor axes of these ellipses coincide with the axis of the vase, while the major axes are perpendicular to it.

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

Choose a point from which perspective vertical cuts are negligible (for example, when the horizon line is slightly above the mouth of the vase or below the base of the vase). The position when the horizon line passes through the body of the vase is not recommended due to some difficulties that a novice draftsman may have with determining the opening of ellipses. In addition, this position is the least successful for creating an expressive pattern.

Chapter 82

Stage 1

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

Stage 2

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

Stage 3

Figure 188. Outline the outline of the vase in orthogonal projection. Such a contour does not take into account future changes, but is a clear constructive basis for further work.

Stage 4

Figure 189. On the horizontal axes, in the places of characteristic sections, draw ellipses. Remember that the ellipse expands the further it is from the horizon. Connect the ellipses with tangent arcs at the junctions of one shape with another. Sketch the handles of the vase, generalizing them to a simple rectangular shape, and only after making sure that the basic relationships are correct, work out their details.

Stage 5

Figure 190. The last stage is tonal study. Start as usual by defining the lines of your own and drop shadow. To do this, use nature and the knowledge already gained about the nature of chiaroscuro on simple geometric bodies. Own shadows on the neck of the vase, belts, shelves of the base, as well as handles - are similar to the shadows on the cylinder; the shadow on the neck is like the shadow on the ball; the shadow on the body of the vase can be represented as a complex combination of the shadow on two balls and a cone. Carefully consider the falling shadows on the vase. Analyze the forms from which shadows fall on the neck of the vase, its body, base, handles. Sometimes it is convenient to do this with a pencil. If you slowly move the tip of the pencil along the line of your own shadow on the vase, the shadow from the tip of the pencil will also move along the line of the falling shadow, fixing at each moment of this movement a certain pair: a point and a shadow from it.

After determining the position of the lines of own and falling shadows, continue the tonal drawing in the usual sequence. First, gain enough tone in the shadows, separating them from the light. Then you need to strengthen your own shadows towards the viewer and the light source, and the falling shadows - also towards the source of the falling shadow. Continuing to work in the shadows, gradually go into the sowing, creating smooth light and shade transitions on spherical and cylindrical surfaces. Completing the drawing, generalize the light and shade relationships, trying to harmoniously subordinate all elements of the image to the general tonal design.

The proposed staging of work is not accidental: it contains an important rule that is obligatory for everyone, and especially for beginner draftsmen: drawing from the general to the particular and from the particular to the general. Always start drawing with the total mass and only then proceed to the details. But do not immediately work out one of the details to the end. Lead the drawing all over the sheet, moving from one part to another, comparing the parts with the general, constantly covering the whole with your eyes. This rule is true for both linear-constructive and black-and-white drawings.

Naturally, your desire is to see the final result as quickly as possible, to jump to the next stage without finishing the previous one. If you want - try to do it - and you will see how a logical and calm work turns into a chaotic throwing from one detail to another in an effort to put together a drawing that “crumbles” before your eyes.

Remember also that the design is the basis of any forms. Errors in construction cannot be hidden by the most virtuoso tonal study. Therefore, errors in construction and proportions discovered during the work must be corrected immediately.

drawing of architectural details 83

Chapter 86

drawing of architectural details 87

Chapter 88

Drawing of a Doric capital.

The capital is called the upper part of the column, which, in turn, is part of the architecture of the new order. An order is a strictly verified artistic system that expresses the essence of the work of a rack-and-beam structure. The name order comes from the Latin "ordo" - order, order. Classical orders - Doric and Ionic - were formed in ancient Greece. Somewhat later, in the architecture of Rome, they received their further development. The order consists of load-bearing and carried elements, the load is transferred from the overlying elements to those located below. From the entablature (bearing part) to the column (bearing), the load is transferred through the capital, which becomes one of the most important components of the entire order composition.

As an object for drawing, you are offered a capital of the Roman Doric order. Roman orders are somewhat drier in their forms than Greek ones, however, like all order systems, they are distinguished by a strict logic of shaping, well-balanced proportions and simplicity. Doric order- the most concise, strict and courageous of all. A novice architect needs to learn to understand and feel the logic of the structure, expressed in an artistic form, which is called tectonics in architecture. Try to feel in the drawing of the capitals how the shape changes from the upper, square parts to the lower, round ones, how each of the profiles is designed to support the elements located above and to transfer pressure from top to bottom.

Start your drawing by analyzing the shape of the capital (Fig. 191). The upper part of the capital is square in terms of abacus (abacus) - a plate with a heel and a shelf. Echin is a quarter of the shaft and mates with the neck of the column through three successively decreasing belts. Astragalus, consisting of a roller and a shelf, passes into the trunk of the column through a fillet. The trunk of the column is decorated with twenty long grooves, semicircular in plan, - flutes, which have semicircular ends.

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

Fig.191

Continuing to study the form, go around the capital around and examine it from different points. You will notice that the main volume, which is a round symmetrical shape, remains unchanged. Only the position of the square abacus changes. Choose a point of view for the drawing so that one side of the abacus is more open to you and the other side is less. The optimal ratio is 1/2-1/3. The horizon line should pass just below the capital, then its proportions will be close to orthogonal. If necessary, make a sketch to more accurately determine the composition of the sheet.

drawing of architectural details

Stage 1.

Figure 193. Place the future image on the sheet, determining its dimensions vertically and horizontally. Mark the corners of the abacus, the main axis, and also determine the dimensions corresponding to the main parts of the capital. It is very important at this stage of the linear drawing to find the correct ratio of the opening of the upper ellipse of the echinus and the square of the abacus. Traditionally, draughtsmen draw the abacus first, and then have considerable difficulty fitting the ellipse into it. Do it differently: having decided on the size and opening of the ellipse, draw it. Then describe a square around the ellipse, comparing the directions of its sides with nature. Stage 2

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

Figure 195. Draw flutes. Properly portray them will help you plan the trunk of the column. If you do not have the opportunity to place the plan on the drawing itself, then pin an extra sheet of paper to your work. The points transferred from the plan to the perspective image will make the drawing accurate and convincing. At this stage, the drawing is mostly linear, but when refining the main elements, it is possible to apply a tone that helps to graphically reveal the "movement" of the main surfaces. At the same time, the tone should be very light, suggesting further constructive elaboration of the form. Stage 4

Figure 196. Reveal the shape of the capital by means of chiaroscuro. A clear understanding of the mutual Location in space of the light source, the object and the painter makes it possible to understand the geometry of own and falling shadows, as well as to identify the main tonal relationships. When defining the lines of own and falling shadows, use the knowledge about the nature of chiaroscuro on simple Forms: mentally divide the capital into separate volumes and compare them with the geometric bodies already known to you.

Stage 5

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

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

Chapter 92

drawing of architectural details 93

Chapter 94

drawing of architectural details 95

Ionic drawing.

Ionic is an architectural ornamental element, consisting of an ovoid shape cut off from above, framed by a “shell”, a profiled roller, and lancet leaves pointing downwards. In architecture, ionics are widely used on capitals and cornices of the Ionic and Corinthian orders. Ionic has two axes of symmetry, one of them runs along the egg-shaped form, the other - in the middle of the lancet leaf. Studying the form, make a plan, facade and side facade (Fig. 198). This will help you better understand the structure of the ionic, and will also greatly facilitate further work on the drawing.

Stage 1

Figure 199. Outline the dimensions of the future image on the sheet. Draw in perspective a rectangular slab that is the basis for the ionic.

Stage 2

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

Stage 3

Figure 201. Draw the details - egg, shells, profiled roller, leaves. Depicting the leaves, make them a large front view in the fields (Fig. 202). This will help you draw the leaves correctly in perspective.

Stage 4

Figure 203. Draw lines of own and falling shadows. Start, as usual, with shadow areas and stroke them several times, separating them from the light. Then you need to strengthen the falling shadows towards the object casting the shadow, the viewer and the light source. At the same time, strengthen the lines of your own shadows, forming zones of reflections. At this stage, do not get carried away with the details, "sculpt" general form in accordance with the law of aerial perspective and the basic principles of the distribution of chiaroscuro on simple geometric bodies.

Stage 5

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

Chapter 98

plaster head drawing 99

Plaster head drawing

The human head is the hardest natural structure. This is due to its complex function in the human body. You can start drawing a head only with a sufficiently developed spatial representation, a thorough knowledge of the general provisions of the drawing and good practice in depicting simpler forms.

The practical section "Drawing a plaster head" begins with an examination of its external form in an "introductory drawing". This first experience will form the basis of further, more detailed analysis. In the drawing of the skull, the structure of the bone base of the head is analyzed. In Houdon's ecorche drawing, the location and principle of operation of the main muscles, as well as cartilaginous tissues, are studied. For detailed consideration skull and muscles, it would be advisable to refer to anatomical atlases and manuals. In the following drawings, special attention is paid to the main details of the head: nose, lips, eyes and ear. And, finally, returning to drawing a plaster head at a new level of understanding of its architectonics (i.e., the relationship between the internal structure and external form), you will be able to consolidate and gradually improve your skills in drawing plaster casts from ancient sculptures: Caesar, Aphrodite, Doryphorus, Diadumen, Socrates, Antinous and Apoxyomenos, traditionally offered for drawing at the entrance exams at the Moscow Architectural Institute.

Drawing "antiques" is a continuation of the old academic traditions. The plastic perfection of classical sculpture, its static nature and extraordinary expressiveness will allow you to quickly understand the general three-dimensional structure of the head, understand its details and basic proportions.

24. Introductory drawing. Head of Doryphorus.

The sculpture of Doryphoros was created in the 5th century BC by the Greek sculptor Polykleitos, a representative of the Peloponnesian school. Polikleitos was not only a sculptor, but also an art theorist. He created the treatise "Canon", where they developed in great detail ideal proportions human body. The figure of Doryphorus - a young hoplite warrior (spearman) - was the embodiment of this canon. At the same time, she was supposed to become the personification of the ideal citizen of the Greek polis: a man like the immortal gods, equally beautiful in body and spirit, a courageous defender hometown. The face of Doryphoros is schematic, it is devoid of individual traits and expressions, which is why the head of Doryphoros is offered for the first "introductory" work, as a result of which you will receive an initial, largely simplified idea of ​​​​the shape of the head.

The head has a brain and facial parts. Its external plasticity is known with the help of a number of anatomical points - nodes ( reference points or lighthouses) and lines. So, on the head are clearly visible: the chin tubercles, the line of the lower jaw, the corners of the mouth, the lines limiting the area of ​​the mouth, the line of the incision of the lips, the filter, the base, the tip and wings of the nose, the bridge of the nose, the cheekbones, the zygomatic arches, the orbital edges, the tear ridges, the eyebrow arches , lines limiting the eyebrow arches, frontal tubercles, temporal lines, crown, auricles, auditory openings, mastoid processes of the temporal bones, parietal and occipital tubercles, nuchal line, border of the neck and chin, jugular fossa and protrusion of the seventh cervical vertebra. Find all these points and lines in figures 205 and 206, and then on the plaster head.

Knowing the anatomical points - beacons and characteristic lines, you will never get confused in the details and will always be able to distinguish the main from the accidental. For a better understanding of the external spatial relationships of the points of the head, a simplified diagram is often used, representing its structure in the form of an irregular polyhedron. It is impossible, however, to abuse such schemes in the drawing. They are only needed as visual aids for a competent and convincing representation of the human head.

Chapter 100

drawing of architectural details 101

Draw from the drawing by P.I.Churilin

from the textbook "The structure of the human head"

Chapter 102

Draw from PIChurilin's drawing

from the textbook "The structure of the human head"

It is also customary to study the human head by analyzing its sections in three mutually perpendicular planes: sagittal, horizontal and frontal (Fig. 207).

The sagittal plane is the plane of symmetry of the body. Its name comes from the Latin "sagttta" - an arrow. A cut in this plane gives us the midline, which is the basis of the professional line of the face and is very important for the drawing of the head.

The horizontal plane passes through the base of the occiput and the base of the nose.

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

plaster head drawing 103

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

Stage 1

Figure 208. Starting work, determine the position of the horizon line and the angle. To do this, mentally enclose your head in a cube. Find the overall dimensions and place the future image on the sheet using short serifs. Remember that if you draw the head in front - the spaces on the left and right should be equal so that the image does not “fall over”, but if you draw the head in profile, in 3/4 or 7/8 - the sheet space in front of the head (from the side face) should be larger than from the back of the head. With light lines outline the outline of the head (outline).

Stage 2

Figure 209. Draw the main large parts: separate the mass of the head from the neck, outline the front part, its front plane and easily draw an axial profile line. Specifying the profile line, find the characteristic points lying on it: the point of the top of the forehead (on the hairline), the point between the eyebrows, the point of the base of the wings of the nose and the point of fracture of the chin. These points determine the main canonical proportional relations of the parts of the head. According to the Greek classical canon, the distances between these points must be equal. Draw horizontal lines through these points (in the figure extending to the vanishing point on the horizon) and mark on them, respectively, the width of the forehead, the base of the nose and the chin. For the correct choice of the directions of these lines, use the sighting method.

In accordance with the ancient canon, along the line of the eyes, the ancient head is divided into two equal parts - from the top of the head to the line of the eyes and from the line of the eyes to the base of the chin. The segment from the superciliary arches (the point between the eyebrows) to the base of the wings of the nose is divided into three equal parts - the line of the eyes passes along the upper division line, and the base and wings of the nose are separated along the lower line. The segment between the point of the base of the wings of the nose and the fracture of the chin is also divided into three equal parts. The middle line of the mouth passes along the upper division line, which is also called the lip cut line, the lower line divides the chin in half. The distance between the eyes is equal to the length of the eye, i.e. the eye line is also divided into three equal parts. The height of the ear is equal to the length of the nose.

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