Volumetric spatial composition of geometric bodies. composition center

DRAWING AS REPRESENTED: COMPOSITION FROM GEOMETRIC BODIES. STEP-BY-STEP GUIDE. REVIEW

Volumetric composition of geometric bodies. How to draw?

A composition of geometric bodies is a group of bodies of a geometric nature, the proportions of which are regulated according to the table of modules cut into each other and thereby forming a single array. Often such a group is also called architectural drawing and architectural composition. Although the formation of the composition, like any other production, begins with a sketch idea - where you can determine the overall array and silhouette, front and background plans, the work must be "built" sequentially. In other words, to have as its beginning a compositional core, and only then, by means of the calculated sections, to “acquire” new volumes. In addition, this allows you to avoid accidental flaws - "unknown" sizes, too small indents, ridiculous cuts. Yes, we must immediately make a reservation that such topics raised by almost every drawing textbook as “Organization of the workplace”, “Varieties of paints, pencils and erasers”, and so on, will not be considered here.

Composition of geometric shapes, drawing

Before proceeding to the examination exercise - “Composition of three-dimensional geometric shapes”, you must obviously learn how to depict the geometric bodies themselves. And only after that you can go directly to the spatial composition of geometric bodies.

How to draw a cube correctly?

On the example of geometric bodies, it is easiest to master the basics of drawing: perspective, the formation of a volumetric-spatial design of an object, the patterns of chiaroscuro. The study of the construction of geometric bodies does not make it possible to be distracted by small details, which means that it allows you to better learn the basics of drawing. The image of three-dimensional geometric primitives contributes to a competent image and more complex geometric shapes. Depicting the observed object competently means showing the hidden structure of the object. But in order to achieve this, the existing tools, even leading universities, are not enough. So, on the left side, there is a cube, checked in the "standard" way, widely used in most art schools, colleges and universities. However, if you check such a cube using the same descriptive geometry, presenting it in plan, it turns out that this is not a cube at all, but there is some geometric body, with a certain angle, probably the position of the horizon line and the vanishing points only resembling it.

Cuba. Left is wrong, right is right

It is not enough to put a cube and ask to depict it. Most often, such a task leads to proportional and perspective errors, among which the most famous are: reverse perspective, partial replacement angular perspective frontal, that is, the replacement of a perspective image with an axonometric one. There is no doubt that these errors are caused by a misunderstanding of the laws of perspective. Knowing the perspective helps not only to warn against blunders at the very first stages of building a form, but also stimulates you to analyze your work.

Perspective. Cubes in space

Geometric bodies

Here, combined orthogonal projections of geometric bodies are shown, namely: a cube, a ball, a tetrahedral prism, a cylinder, a hexagonal prism, a cone and a pyramid. In the upper left part of the figure, lateral projections of geometric bodies are shown, in the lower - a top view or plan. Such an image is also called a modular scheme, since it regulates the sizes of bodies in the depicted composition. So, it can be seen from the figure that at the base all geometric bodies have one module (the side of the square), and in height the cylinder, pyramid, cone, tetrahedral and hexagonal prisms are equal to 1.5 cube sizes.

Geometric bodies

Still life of geometric shapes - we go to the composition in stages

However, before moving on to the composition, a couple of still lifes consisting of geometric bodies should be completed. The exercise “Still life drawing from geometric bodies in orthogonal projections” will be even more useful. The exercise is quite difficult, which should be taken with due seriousness. Let's say more: without understanding linear perspective it will be even more difficult to master a still life according to orthogonal projections.

Still life of geometric bodies

Geometric body frames

Inserts of geometric bodies - this is such a mutual arrangement of geometric bodies, when one body partially enters another - it crashes. The study of frame variations will be useful for every draftsman, because it provokes the analysis of one form or another, architectural or living in equal measure. Any depicted object is always more useful and efficient to consider from the standpoint of geometric analysis. The tie-ins can be conditionally divided into simple and complex, but it should be noted that the so-called "simple tie-ins" require great responsibility in the approach to the exercise. That is, in order to make the cut-in exactly simple, you should decide in advance where you would like to place the cut-in body. by the most simple option there is such an arrangement when the body is displaced from the previous one in all three coordinates by half the size of the module (that is, half the side of the square). The general search principle for all inserts is the construction of an insert body from its inner part, that is, the insert of a body, as well as its formation itself, begins with a section.

Section planes

Composition of geometric shapes, phased implementation exercises

It is widely believed that the arrangement of bodies in space through the “chaotic” imposition of their silhouettes on each other makes it easier and faster to form a composition. Perhaps this is what prompts many teachers to demand the presence of a plan and a facade in the conditions of assignments. So, at least, the exercise is already presented in the main architectural domestic universities.

Volumetric spatial composition from geometric bodies considered in stages

Chiaroscuro

Chiaroscuro is the distribution of illumination observed on an object. In the figure, it manifests itself through tone. Tone - figurative medium, which allows you to convey the natural relationship of light and shadows. It is relationships, since even such graphic materials, how charcoal pencil and White paper, are usually not able to accurately convey the depth of natural shadows and the brightness of natural light.

Basic concepts

Conclusion

It should be said that geometric precision is not inherent in the drawing; So, in specialized universities and schools, using a ruler in the classroom is strictly prohibited. Trying to correct the drawing with a ruler leads to even more errors. Therefore, it is difficult to belittle the importance of practical experience - since only experience is able to train the eye, consolidate skills and enhance artistic flair. At the same time, only with the help of consistent execution of the image of geometric bodies, their mutual inserts, acquaintance with perspective analysis, aerial perspective, it is possible to develop the necessary skills. In other words, the ability to depict simple geometric bodies, the ability to represent them in space, the ability to connect them with each other and, no less important, with orthogonal projections, opens up broad prospects for mastering more complex geometric shapes, whether they are household items or a human figure and head, architectural structures and details or cityscapes.

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. It can be used both when working in additional education, and in a drawing course at school. The manual is compiled on the basis of the author's study guide"Drawing of geometric bodies" intended for first-year students of the specialty Arts and Crafts and Folk Crafts and Design (not published).

The drawing of geometric bodies is an introductory material for teaching drawing. The introduction reveals the terms and concepts used in the drawing, the concepts of perspective, the procedure for performing work on the drawing. Using the material presented, you can study the required material 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 nature is to instill in children the basics of visual literacy, teaching a realistic depiction of nature, i.e. understanding and depicting three-dimensional shape on the 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 techniques of spatial representation of objects in all turns, positions, as well as 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 and environmental conditions. The essence and meaning of the spatial line is easiest to understand by observing the master's pencil in the process of his work: the line either intensifies, then weakens or completely disappears, merging with environment; then it reappears and sounds at the full power of the pencil.

Beginning draftsmen, not 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 of great importance. It is necessary to help the painter to understand the mistake he made or to warn against it.

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

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

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

perspective

The Renaissance for the first time created a mathematically rigorous doctrine of the ways of transmitting space. Linear perspective(from lat. Rers Ri ser e "I see through"“I penetrate with my eyes”) is an exact science that teaches to depict objects 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 shape of an object is determined by its illumination, which is necessary factor not only for the perception of the subject, but also for its reproduction in the 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, all the colorful diversity of nature, especially festive elegant costumes, diffused lighting that excludes clear chiaroscuro, the transfer of the environment - all this puts before the draftsman a number of tasks of a kind of picturesque nature, the solution of which is impossible with the help of chiaroscuro alone.

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

If we take, for example, yellow and blue, 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, it is necessary to observe a proportional relationship 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. This complicates the analytical work of a novice draftsman. Instead of the volume of a ball, for example, he draws a flat circle, which he then shades from contour line. The light-to-shadow ratios are given as random spots - and the ball appears to be just a smudged circle.

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

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

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

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

3). The third stage is summarizing. This is the last and most important stage of work on the drawing. At this stage, we summarize the results of the work done: we check general state drawing, subordinating the details to the whole, refines 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 the 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 the drawing, determine the ratio of the height and width of the overall composition of all geometric bodies as a whole. After that, they proceed to establishing the dimensions of individual geometric bodies.

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

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

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

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

Perspective of the box at a random angle.

Construction of a body of revolution - a cone.

Thus, all geometric bodies are built.

3) 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 the sheet of paper on which it stands, illuminated by direct, bright light. The remaining surfaces should be hatched with light, transparent hatching, gradually increasing it on the lines of the light division (the edges of the cube where the illuminated and shadow faces meet). In order of decreasing light intensity, all light shades can be 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 manual describes the image of a complex composition of plaster geometric bodies. If the training program is designed for several years, it is better to postpone the image of such a composition for subsequent years. It is recommended to first depict the composition of two geometric bodies of a simple shape. Later, you can move on to a more complex composition. For a task on cut-off modeling, illumination by a closely spaced lamp, spotlight, etc. is highly desirable. on one side (usually 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.

four). 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", "Concise Dictionary artistic terms"- M. "Enlightenment", "Title", 1996

Additional:

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

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

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

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

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

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

Applications

Topic 1. Building frames of geometric bodies

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

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

Explanatory note ____________________________________ 2

Introduction ________________________________________________ 3

Topic 1. Construction of frames of geometric bodies _____________ 12

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

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

Applications ____________________________________________ 21

Choose one or two of the best sketches and enclose them in boxes whose proportions 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, but one must also know about special tricks, helping the draftsman to 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 of an architectural drawing is not to convey the state of an object, but, if possible, to 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 side by side (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 (goose, 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 identify possible errors before starting tonal work.

Chiaroscuro on architectural details is also distributed according to the laws of drawing simple geometric bodies. On curved surfaces, the transitions from light to shadow are soft, 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 ways of depicting perspective is the closest to the real perception of the 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 informativeness, that will help you to study the complex architectural form in the best way now, 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 important rule, 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. The Doric order is the most concise, strict and courageous of all. A novice architect needs to learn to understand and feel the logic of the design, expressed in art form, which in architecture is called tectonics. 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 coordinate them with each other, taking into account 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 details, "sculpt" the general shape in accordance with the law of aerial perspective and the basic principles of the distribution of light and shade on simple geometric bodies.

Stage 5

Figure 204. Continuing work, go to the riveting 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

picture plaster head 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 the drawing of a plaster head at a new level of understanding of its architectonics (i.e., the relationship internal structure and external form), you will be able to consolidate and gradually improve your skills in drawings of plaster casts from ancient sculptures: Caesar, Aphrodite, Doryphoros, Diadumen, Socrates, Antinous and Apoxyomenes, 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 the ideal proportions were developed in great detail. 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 Doryfor is schematic, it is devoid of individual features and expression, which is why the head of Doryfor is offered for the first "introductory" work, as a result of which you will get 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 beacons) 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 necessary only as visual aids for a competent and convincing image of a 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 right choice 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.

©2015-2019 site
All rights belong to their authors. This site does not claim authorship, but provides free use.
Page creation date: 2016-02-13

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

closed and open composition

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

The elements in it do not tend to go beyond the plane, but, as it were, close in the center of the composition. And the view from any point of the composition tends to this center. To achieve it, you can use a compact arrangement of elements in the center of the composition, framing. The arrangement of elements (in the image - geometric shapes) in such a way that they all point to the center of the composition.

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

golden section rule

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

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

Harmony- it's harmony. A single whole in which all elements complement each other. Some single mechanism.

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

There is nothing more harmonious than nature itself. Therefore, the understanding of harmony comes to us from it. And in nature, 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 section?

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

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

Three thirds rule

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

If we divide the plane on which our geometric figures 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.

84

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

projections

Topic 2. Drawing a composition of geometric shapes by imagination

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

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

WORK EVALUATION CRITERIA

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

When evaluating work, the following is taken into account:

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

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

3. Tonal transmission of proportions.

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

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

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

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

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

P. Refinement of the composition

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

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

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

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

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

IV. Final study (Fig. 94)

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

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

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

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

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

"4H":.,. ■

i"

Rice. 91

68

Rice. 93

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

Rice. 95

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

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

Rice. 97. Examples of various compositional ideas

Rice. 101

Rice. 103

" ■; /."" ■■""; .

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

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

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

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

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

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

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

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

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