What thoughts, what concepts come to your mind first of all when you remember about photographic composition? Many will say: balance in the frame, the rule of thirds, rhythm, guiding lines ... Yes, all this is true. All this affects the composition of the frame. All this works and works great. But not only that! There is also the angle, perspective, the relationship of tones, colors, contrasts ... All this the photographer needs to know and be sure to study the composition, the laws of constructing an image on a plane. Those who have recently decided to seriously engage in photography, who have just come into photography and are still discovering it for themselves, getting acquainted with the rules and laws of composition, sometimes cannot even imagine how many interesting things this includes. most interesting art. The laws of composition are much deeper than it might seem at first glance. But starting to study the composition, you should not worry in any way. It is not so difficult. Just gradually getting acquainted with its laws, mastering them, you need to train. How? As the famous movie character used to say, “Elementary. Watson! Take more pictures! Fortunately, the current technology allows you to photograph a lot. In film and expensive consumables today there is practically no need.
Today we decided to talk with you about geometry in composition. Yes Yes! Do not be surprised! Geometry is one of the most important aspects compositions. And in this article we will try to prove it to you.
The bulk of those who have a camera, without thinking about it themselves, unconsciously use their knowledge of geometry when photographing, introducing various geometric shapes. Don't believe? Read the article further - and you will see that we are right. I would like to think that the information below will give you an impetus to further development mastery of the composition, to further improve your skills in photography.
Rectangles
Using these, perhaps the most popular figures in geometry, in the composition of a photograph is akin to using the rule of thirds. But, unlike this known rule, the frame is divided not into three imaginary equal parts, but into imaginary rectangles of various sizes. Just take a look at this picture. The bottom of the photo, the bank and the grass, form a horizontal rectangle. And the left side of the picture, where there is a large blue spot of the water surface, is a vertical rectangle. These two rectangles in the composition of the picture very well highlight the lantern standing on the shore. It looks like an isolated, independent object.
Circles
Circles have their own energy. They seem to concentrate a certain energy in themselves, and thereby direct the viewer's gaze into the depth of the frame. In order to create a spectacular composition, experienced photographers and good artists often use not only circles, but also semicircles. Here in this photo, which we have given as an example, this is very clearly visible. The circles in her composition focus the viewer's attention and gradually lead him to the main thing in the frame - to the beautiful mountain peaks in the distance.
triangles
A triangle is probably the most common geometric element in the composition of any image on a plane. Take a close look at your own photos. Pay attention: triangles are everywhere! They are literally scattered over your pictures! Here is an example for you - the most common Mountain landscape. The triangles in this photograph create an imaginary yet natural path that leads the viewer's eye from the foreground hedge towards the mountains themselves. And the mountains themselves, take a closer look, also have the shape of a triangle!
Polygons
Looking into the camera viewfinder, most photographers, especially beginners, hardly think that now, mentally working on the composition of the future frame, they will imagine some kind of polygons. But then, when they see their pictures already on the monitor screen, they will be very, very surprised: there will be a huge number of polygons on them! They are what give the photographs visual meaning. Take a look at these pictures here. They clearly show that geometric polygons appear in the plane of the frame not only due to the shape of the objects themselves. They are also well seen due to the contrast of individual sections, due to light spots and shadows.
squares
The square is considered perfect figure not only in geometry, but in general fine arts generally. Remember, at least, the famous "Black Square" by Kazimir Malevich. And for the photo square - perfect shape. Look at this illustration. The main subject of the photo easily and naturally fits into the square. And this square, in turn, is in perfect harmony with other squares - squares formed from books and bookshelves in the background.
arches
Arches in their manifestation in the composition of building an image on a plane somewhat repeat the “work” of circles. But, unlike circles, arches are rather background element than an independent geometric shape. Here in this photo, for example, women's hands holding a rose and folded in the shape of a heart form three whole arches! And these imaginary arches form, as it were, a frame framing a beautiful and delicate flower.
Converging and parallel lines
Any experienced photographer or artist will tell you that it can be very difficult to correctly use various kinds of lines in a composition. However, it is quite possible. Both converging lines and parallel ones can, and even, Furthermore, should be effectively used in the composition of the frame! Such lines work especially effectively when composing the background. Look at this picture. It is easy to see both converging and parallel lines on it. They are very good at directing the viewer's eye to the main subject of the photo - to a person sitting on the grass. Plus, these lines visually seem to be reflected from each other.
Attitude and balance of space
If you want to add more meaning to your photographs, in some way increase their emotional impact on the viewer, then try to understand the understanding of space. In some cases, compositionally photographs can be quite simple at first glance. Like these, for example. What is the most important thing here? Right. The proximity of the viewer to the bench shown by the author and the presence of space, or rather, even emptiness directly behind it. This kind compositional construction frame allows the viewer to mentally, at the subconscious level, recreate in his mind the history of this plot, based on his experiences, on his personal experience on your emotions.
Take your time to deal with everything that we have told you today. Try to understand how they affect geometric elements on the composition of the image on the plane. Perhaps this understanding will not come to you immediately. But it's not scary at all. The main thing is that it seems to us that we, so to speak, have sown our seed. You just have to wait for shoots first, and after a while, fruits.
MBOUDO Irkutsk CDT
Drawing of geometric bodies
Teacher of additional education
Kuznetsova Larisa Ivanovna
Irkutsk 2016
This manual "Drawing of geometric bodies" is intended for teachers working with school-age children. From 7 to 17 years old. Can be used both when working in additional education, and in the course of drawing at school. The manual is compiled on the basis of the author's study guide"Drawing of geometric bodies" intended for first-year students of the specialty Arts and Crafts and Folk Crafts and Design (not published).
The drawing of geometric bodies is an introductory material for teaching drawing. The introduction reveals the terms and concepts used in the drawing, the concepts of perspective, the procedure for performing work on the drawing. Using the material presented, you can study the required material 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 fine literacy, teaching a realistic depiction of nature, that is, understanding and depicting a three-dimensional form on a sheet plane. The main form of education is drawing from a stationary nature. He teaches to correctly convey visible objects, their features, properties, gives children the necessary theoretical knowledge and practical skills.
The tasks of teaching drawing from nature:
To instill the skills of consistent work on a drawing according to the principle: from general to particular
To acquaint with the basics of observational, i.e., visual perspective, the concept of light and shade relations
Develop technical drawing skills.
In the drawing classes, work is carried out on the education of a complex of qualities necessary for an artist:
- eye placement
The development of "firmness of the hand"
The ability to see clearly
Ability to observe and remember what is seen
The sharpness and accuracy of the eye, etc.
This manual examines in detail one of the first topics of drawing from nature - “Drawing of Geometric Bodies”, allowing you to study in detail the shape, proportions, structural structure, spatial relationships, perspective contractions of geometric bodies and the transfer of their volume using light and shade ratios. Are being considered learning objectives- layout on a sheet of paper; construction of objects, transfer of proportions; from through drawing, to the transfer of volume by tone, the shape of objects to reveal light, penumbra, shadow, reflex, glare, full tonal solution.
Introduction
Drawing from nature
Drawing is not only an independent type of fine art, but also the basis for painting, engraving, posters, arts and crafts and other arts. With the help of the drawing, the first thought of the future work is fixed.
The laws and rules of drawing are assimilated as a result of a conscious attitude to work from nature. Each touch of the pencil on the paper must be thought out and justified by the feeling and understanding of the real form.
An educational drawing should give, perhaps, a more complete picture of nature, its form, plasticity, proportions and structure. It should be considered, first of all, as a cognitive moment in learning. In addition, 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 spatial image objects in all turns, positions, as well as in various degrees of remoteness from it.
Three-dimensionality, volume, shape
Every object is defined by three dimensions: length, width and height. Its volume should be understood as its three-dimensional value, limited by surfaces; under the form - the external view, the external outlines of the object.
Fine art mainly deals with three-dimensional form. Consequently, in drawing one should be guided precisely by the three-dimensional form, feel it, subordinate it to all the methods and techniques of drawing. Even when depicting the simplest bodies, it is necessary to develop this sense of form in children. For example, when drawing a cube, one cannot depict only its visible sides, without taking into account the sides hidden from view. Without representing them, it is impossible to build or draw a given cube. Without a sense of the whole form as a whole, the objects depicted will appear flat.
For a better understanding of the form, before proceeding to the drawing, it is necessary to consider nature from various angles. The painter is encouraged to observe the form from different points, but draw from one. Having mastered the main rules of drawing on the simplest objects - geometric bodies - in the future it will be possible to move on to drawing from nature, which is more complex in design.
The construction, or structure, of an object means the mutual arrangement and connection of its parts. The concept of "construction" is applicable to all objects created by nature and human hands, starting with the simplest household items and ending with complex forms. A drawing person needs to be able to find patterns in the structure of objects, to understand their shape.
This ability develops gradually in the process of drawing from nature. The study of geometric bodies and objects close to them in form, and then objects more complex in structure, obliges the painters to consciously relate to drawing, to reveal the nature of the design of the depicted nature. So, the lid, as it were, consists of a spherical and cylindrical neck, a funnel is a truncated cone, etc.
Line
The line, or line drawn on the surface of the sheet, is one of the main elements of the drawing. Depending on the purpose, it may have a different character.
It can be flat, monotonous. In this form, it mainly has an auxiliary purpose (this is the placement of a drawing on a sheet, a sketch of the general outline of nature, the designation of proportions, etc.).
The line can also have a spatial character, which the painter masters as he studies the form in lighting conditions and environment. The essence and meaning of the spatial line is easiest to understand by observing the master's pencil in the process of his work: the line either intensifies, then weakens or completely disappears, merging with the environment; then it reappears and sounds at the full power of the pencil.
Beginning draftsmen, not understanding that the line in the drawing is the result hard work above the form, they usually resort to a flat, and monotonous line. Such a line, with the same indifference delineating the edges of figures, stones and trees, conveys neither form, nor light, nor space. Completely ignorant of the issues of spatial drawing, such draftsmen pay attention, first of all, to the external outlines of the object, trying to copy it mechanically, in order to then fill the contour with random spots of light and shadow.
But the planar line in art has its purpose. It is used in decorative painting, wall paintings, mosaics, stained glass, easel and book graphics, poster - all works of a planar nature, where the image is linked to a certain plane of the wall, glass, ceiling, paper, etc. Here, this line makes it possible to generalize the image.
The profound difference between planar and spatial lines must be learned from the very beginning, so that in the future there will be no confusion of these various elements of the drawing.
Beginning draftsmen have another characteristic feature of drawing lines. They put too much pressure on the pencil. When the teacher shows with his hand the techniques of drawing with light lines, they trace the lines with increased pressure. It is necessary from the very first days to wean from this bad habit. You can explain the requirement to draw with light, “airy” lines by the fact that at the beginning of the drawing we inevitably change something, move it. And erasing lines drawn with strong pressure, we spoil the paper. And, most often, there is a noticeable trace. The drawing looks messy.
If at first you draw with light lines, in the process of further work it is possible to give them a spatial character, then strengthening, then weakening.
Proportions
A sense of proportion is one of the main elements in the drawing process. Compliance with proportions is important not only in drawing from nature, but also in decorative drawing, for example, for ornament, appliqué, etc.
Compliance with proportions means the ability to subordinate the sizes of all elements of the picture or parts of the depicted object in relation to each other. Violation of proportions is unacceptable. The study of proportions is given great importance. It is necessary to help the painter to understand the mistake he made or to warn against it.
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""penetrating glance") - exact science, which teaches to depict objects of the surrounding reality on a plane in such a way that an impression is created such as in nature. All construction lines are directed to the central vanishing point corresponding to the location of the viewer. The shortening of the lines is determined depending on the distance. This discovery made it possible to build complex compositions in three-dimensional space. True, the retina of the human eye is concave, and straight lines do not appear to be drawn along a ruler. Italian artists did not know this, so sometimes their work resembles a drawing.
Square perspective
a - frontal position, b - at a random angle. P is the central vanishing point.
Lines receding into the depth of the drawing seem to converge at the vanishing point. The vanishing points are on the horizon line. Lines receding perpendicular to the horizon converge at central vanishing point. Horizontal lines receding at an angle to the horizon converge at side vanishing points
circle perspective
The upper oval is above the horizon line. For circles below the horizon, we see their upper surface. The lower the circle, the wider it seems to us.
Already in the first tasks on drawing geometric bodies, children have to build the perspective of rectangular objects and bodies of revolution - cylinders, cones.
F 1 and F 2 - lateral vanishing points lying on the horizon line.
Perspective of a cube and a parallelepiped.
P is the vanishing point lying on the horizon line.
Chiaroscuro. Tone. Tonal relations
The visible 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. Until the second half of the 19th century, they were limited to the means of this chiaroscuro when transmitting illuminated plaster casts and nude sitters.
At the end In the 19th and early 20th centuries, during the period of the development of a deeper understanding of color, demands of a picturesque nature began to be made to the drawing.
Indeed, all the colorful diversity of nature, especially festive elegant costumes, diffused lighting that excludes clear chiaroscuro, the transfer of the environment - all this puts before the draftsman a number of tasks of a kind of picturesque nature, the solution of which is impossible with the help of chiaroscuro alone.
Therefore, the pictorial term entered the drawing - "tone".
If we take, for example, yellow and blue, 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 stages, and each stage may include smaller drawing stages.
Let us consider in more detail these stages of work on the drawing.
1). The work begins with the compositional placement of the image on a sheet of paper. It is necessary to examine nature from all sides and determine from which point of view it is more effective to place the image on a plane. The painter must 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 sum up the work done: we check the general condition of the drawing, subordinating the details to the whole, clarifying the drawing in tone. It is necessary to subordinate lights and shadows, glare, reflexes and halftones to the general tone - one must strive to bring to a real sound and completion those tasks that were set at the very beginning of the work. Clarity and integrity, the freshness of the first perception should already appear in a new quality, as a result of long and hard work. On final stage work, it is desirable to return to a fresh, original perception.
Thus, at the beginning of work, when the draftsman quickly outlines on a sheet of paper general form nature, it follows the path of synthesis - generalization. Further, when a careful analysis of the form is carried out in a generalized form, the draftsman enters the path of analysis. At the very end of the work, when the artist begins to subordinate the details to the whole, he again returns to the path of synthesis.
The work of generalizing the form for a novice draftsman presents rather great difficulties, because the details of the form attract his attention too much. Individual, insignificant details of an object observed by a draftsman often obscure a holistic 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 tutorial describes an image that is quite difficult to junior schoolchildren compositions from frames of geometric bodies. It is recommended to first depict the frame of one cube, one parallelepiped or cone. Later - a composition of two geometric bodies of a simple form. If the training program is designed for several years, it is better to postpone the image of a composition of several geometric bodies for subsequent years.
3 stages of work on a drawing: 1) compositional placement of the image on the plane of a sheet of paper and determination of the general nature of the form; 2) construction of frameworks of geometric bodies; 3) creating the effect of the depth of space using different line thicknesses.
1). The first stage is the compositional placement of the image on the plane of a sheet of paper and the determination of the general nature of the form. Starting a drawing, determine the ratio of height and width overall composition all geometric bodies in general. After that, they proceed to establishing the dimensions of individual geometric bodies.
During work, you cannot change the point of view, since in this case the entire perspective construction of the drawing will be violated. The scale of the objects depicted in the drawing is also determined in advance, and not in the process of work. When drawing in parts, in most cases, nature either does not fit on the sheet, or is shifted up, down, or to the side.
At the beginning of drawing, the form is drawn very generally and schematically. The main, generalized character of the large form is revealed. A group of objects needs to be equated to a single figure - to generalize.
2). The second stage is the construction of frames of geometric bodies. It is necessary to clearly imagine the spatial arrangement of objects, their three-dimensionality, how the horizontal plane is located, on which geometric bodies stand relative to the eye level of the painter. The lower it is, the wider it appears. In accordance with this, all horizontal faces of geometric bodies and the circles of bodies of revolution look more or less wide for the painter.
The composition consists of prisms and bodies of revolution - a cylinder, a cone, a ball. For prisms, it is necessary to find out how they are located relative to the drawing - frontally or at an angle? The body, located frontally, has 1 vanishing point - in the center of the object. But more often, geometric bodies are located relative to the drawing at a random angle. Horizontal lines receding at an angle to the horizon line converge atside vanishing points located on the horizon line.
Perspective of the box at a random angle.
Construction of a body of revolution - a cone.
Thus, all geometric bodies are built.
3) The third and last stage is the creation of the effect of the depth of space using different line thicknesses. The drawing person sums up the work done: checks the proportions of geometric bodies, compares their sizes, checks the general state of the drawing, subordinating the details to the whole.
Topic 2. Drawing of plaster geometric bodies:
cube, ball (black and white modeling).
Note: this manual describes the image of a gypsum cube and a ball on one sheet. You can draw on two sheets. For tasks on cut-off modeling, illumination by a closely spaced lamp, soffit, etc. is highly desirable. on one side (usually on the side of the window).
Cube
1). The first stage is the compositional placement of the image on the plane of a sheet of paper. Gypsum cube and ball are drawn sequentially. Both are illuminated by directional light. The upper half of the sheet of paper (A3 format) is reserved for the cube, the lower half for the ball.
The cube image is composited with a drop shadow in the center of the top half of the sheet. The scale is chosen such that the image is neither too large nor too small.
2). The second step is building the cube.
It is necessary to determine the location of the horizontal plane on which the cube stands and the horizontal faces relative to the level of the eyes, their width. How is the cube located - frontally or at an angle? If frontally, the cube has 1 vanishing point at the level of the painter's eyes - in the center of the cube. But more often the edges are located relative to the drawing at a random angle. Horizontal lines receding at an angle to the horizon converge atside vanishing points located on the horizon line.
Building a cube
The drawing must find out which of the side faces of the cube seems to be wider for him - for this face, the horizontal lines are directed to the vanishing point more gently, and the vanishing point itself is farther from the depicted object.
Having built a cube, according to the rules of perspective, we thereby prepared the borders for light and shadows. Considering the illuminated cube, we notice that its plane facing the light source will be the lightest, called light; the opposite plane - a shadow; semitones are called planes that are at angles to the light source and therefore do not completely reflect it; reflex - reflected light falling on the shadow sides. The falling shadow, the contour of which is built according to the rules of perspective, is darker than all the surfaces of the cube.
Black and white modeling of the cube
White can be left on the surfaces of the cube or sheet of paper on which it stands, illuminated by direct, bright light. The remaining surfaces should be hatched with a light, transparent hatching, gradually strengthening 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
1). The first stage is the compositional placement of the image of the ball along with the falling shadow in the center of the bottom half of the sheet of paper. The scale is chosen such that the image is neither too large nor too small.
Building a ball
2). The black-and-white modeling of a sphere is more complex than that of a cube. Light and shadow have gradual transitions, and the deepest shadow will not be on the edge of the shadow side that carries the reflex, but rather moving away in the direction of the illuminated part. Despite the apparent brightness, the reflex must always obey the shadow and be weaker than the halftone, which is part of the light, that is, it must be lighter than the shadow and darker than the halftone. For example, the reflex on the ball should be darker than the semitone in the light. Closer to the light source, the contrasts of light and shadow intensify, as they move away, they weaken.
Black and white modeling of the ball
3). When all the details are drawn, and the drawing is carefully modeled in tone, the generalization process begins: we check the general condition of the drawing, refining the drawing in tone. Again trying to return to the clarity, integrity and freshness of the first perception.
Topic 3. Still life drawing from plaster
geometric bodies (black and white modeling).
Note: this tutorial describes the image complex composition from plaster geometric bodies. If the training program is designed for several years, it is better to postpone the image of such a composition for subsequent years. It is recommended to first depict the composition of two geometric bodies of a simple shape. Later, you can move on to a more complex composition. For a task on cut-off modeling, illumination by a closely spaced lamp, spotlight, etc. is highly desirable. on one side (usually on the side of the window).
3 stages of work on a drawing: 1) compositional placement of the image on the plane of a sheet of paper and determination of the general nature of the form; 2) construction of geometric bodies; 3) modeling of forms by tone.
1). The first stage is the compositional placement of images of geometric bodies on the plane of a sheet of A3 paper. Starting the drawing, determine the ratio of the height and width of the overall composition of all geometric bodies as a whole. After that, they proceed to establishing the dimensions of individual geometric bodies.
The scale of the objects depicted in the drawing is determined in advance. Premature loading of the sheet with lines and spots should be avoided. Initially, the shape of geometric bodies is drawn very generally and schematically.
Having completed the compositional placement of the image on a sheet of paper, the main proportions are set. In order not to be mistaken in proportions, you should first determine the ratio of large values, and then smaller ones.
2). The second stage is the construction of geometric bodies. It is necessary to clearly imagine the spatial arrangement of objects, how the horizontal plane is located on which geometric bodies stand relative to the eye level of the painter. The lower it is, the wider it appears. In accordance with this, all horizontal faces of geometric bodies and the circles of bodies of revolution look more or less wide for the painter.
The composition consists of prisms, pyramids and bodies of revolution - a cylinder, a cone, a ball. For prisms, it is necessary to find out how they are located relative to the drawing - frontally or at an angle? The body, located frontally, has 1 vanishing point - in the center of the object. But more often, geometric bodies are located relative to the drawing at a random angle. Horizontal lines receding at an angle to the horizon line converge at lateral pointsgathering located on the horizon line. In the bodies of revolution, horizontal and vertical centerlines, lay on them distances equal to the radius of the depicted circle.
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. Closer to the light source, the contrasts of light and shadow intensify, as they move away, they weaken.
White leaves only a highlight on the ball. The remaining surfaces are covered with light and transparent shading, applying strokes according to the shape of the ball and the horizontal surface on which it lies. The tone is gaining gradually.
As they move away from the light source, the illuminated surfaces of bodies lose their luminosity. Closer to the light source, the contrasts of light and shadow intensify, as they move away, they weaken.
4). When all the details are drawn and the picture is modeled in tone, the generalization process begins: we check the general condition of the picture, refining the picture in tone.
It is necessary to subordinate lights and shadows, glare, reflections and halftones to the general tone, trying to return to the clarity, integrity and freshness of the first perception.
Literature
Main:
Rostovtsev N. N. "Academic drawing" M. 1984
"School of Fine Arts" vol. 2, M. "Art" 1968
Trouble G.V. "Fundamentals of visual literacy" M. "Enlightenment" 1988
"School of Fine Arts" 1-2-3, "Fine Arts" 1986
"Fundamentals of Drawing", " Concise Dictionary artistic terms "- M. "Enlightenment", "Title", 1996
Additional:
Vinogradova G. “Drawing lessons from nature” - M., “Enlightenment”, 1980
Library " young artist» Drawing, tips for beginners. Issue 1-2 - "Young Guard" 1993
Kirtser Yu. M. “Drawing and painting. Textbook "- M., 2000
Kilpe T. L. "Drawing and Painting" - M., Publishing House "Oreol" 1997
Avsisyan O. A. "Nature and drawing by representation" - M., 19885
Odnoralov N. V. "Materials and tools, equipment in the fine arts" - M., "Enlightenment" 1988
Applications
Topic 1. Building frames of geometric bodies
Topic 2. Drawing of plaster geometric bodies: cube, ball
Topic 3. Drawing of a still life from plaster geometric bodies
Explanatory note ____________________________________ 2
Introduction ________________________________________________ 3
Topic 1. Construction of frames of geometric bodies _____________ 12
Topic 2. Drawing of plaster geometric bodies: cube, ball (black and white modeling) _____________________________________________ 14
Topic 3. Drawing of a still life from plaster geometric bodies (black and white modeling) _____________________________________________ 17
Applications ____________________________________________ 21
Photography is what painting, composition, plastic rhythm, geometry become, placed in a matter of fractions of a second (Henri Cartier-Bresson).
When we think about compositions in photography, the first thing that comes to mind is the rule of thirds, ...
But there is another important element in the composition - geometry. Geometry in photography is simple shapes such as square, triangle, circle, straight and curved lines.
Geometric objects are usually auxiliary, they enhance perception and can combine individual elements of a photograph into a single whole. By choosing one or another geometric shape in a photograph, the author can focus the attention of the future viewer on certain areas in advance. It has been established, for example, that the corners of a square turn out to be very active zones, while for a circle or an oval it is the center. It is no coincidence that a tradition of portraits in an oval has developed since ancient times. The corners did not distract attention from the main thing - the image of the face. The most common and most versatile geometric tool- This lines. Read more about them in our separate.
In fact, any object in the environment can be compared to some geometric figure, but they all evoke different emotions and feelings in the viewer. Simple geometric shapes, such as a circle and a square, are much faster fixed by our eyes and perceived by the brain, and therefore are better remembered than complex and irregular ones. In general, there are three basic figures. This rectangle, triangle and circle. Everything else - an oval, a square, a trapezoid, an ellipse, a rhombus is just their variations. They all differ both graphically and (don't be surprised) emotionally.
SQUARE IN COMPOSITION
The square is the most stable, complete form, ready to evoke affirming images. It is associated with such concepts as order, stability, reliability, strength. At the same time, the square is perceived somewhat mundane and heavy.
Photo: Robertino Nikolic. “Light plays with geometry or geometry with light?”.Winner of the Black & White Spider Awards, 2007.
Photo: Alma (source - 1510.deviantart.com)
RECTANGLE IN COMPOSITION
A rectangle located horizontally with its larger side evokes a feeling of stability, peace, and solidity.
It looks especially harmonious if it is made in the proportions of the "golden section". The rectangle, located with its larger side along the vertical, creates a feeling of lightness, airiness.
TRIANGLE IN COMPOSITION
The triangle is the most common shape found in nature. The triangle is the most dynamic, unstable shape, which is associated with movement, development, and speed. In the “top up” position, it evokes images of stability, stability (pyramid). Several triangles - positive dynamic movement. In the “top down” position - a precarious balance, balancing. Unlike a rectangle, the sides do not oppose each other, but change the direction of development. This can be used to create specific images. The triangle naturally brings a sense of depth to the composition.
CIRCLE IN COMPOSITION
In the form of a circle, more than, in any, the idea of nature, earth, the universe is expressed. Circles abound both in nature and in the world of man-made objects. Therefore, such concepts as “good”, “life”, “happiness”, “prosperity” are associated in a person with this particular form. This shape directs the eye into the frame. The circle is associated with something light, airy and at the same time balanced. But, unlike a square, this equilibrium is closer to physical concept"unstable equilibrium". Circles are the most pleasing to the eye shapes that can be safely used in the frame. They immediately grab the attention of the viewer and, thanks to their perfect symmetry, bring harmony to the image. Since the circle has no corners, it contrasts beautifully with the rectangular crop of the frame.
Like the triangle, the circle is a very effective geometric figure that can be usefully used in the composition of the frame, although with a different meaning. Unlike diagonals, which charge the frame with dynamics and tension, curved lines create harmony. Thus, it is possible to create expressive and informative compositions based on simple geometric shapes.
Geometric objects can be divided into three groups according to their functions: guide lines, space dividers and framing. Space separators divide the image into separate zones that carry their own semantic load but working together to create a single composition. An example of the simplest space separator is the horizon line separating the sky from the surface of the sea. Triangles look very good as a space separator, but elements such as diagonals and open lines can also be used with confidence.
Frames have the function of attracting the viewer's eye and focusing it on the main object. Doorways, arches, windows work great as framing elements. In addition, natural elements, such as tree branches, do an excellent job with this function. It is important that the framing be present at least on both sides of the image and be done in a calm tone, preferably darker than main object so as not to distract the viewer. The framing element should have an interesting color, shape, texture, or other noteworthy characteristic, but it's worth remembering that framing elements should be guiding, not distracting. Triangles or arches work especially well in this regard. The arch is able to create an interesting dynamic composition.
Try, experiment and do not forget that in one shot you can use several geometric shapes at once to build a composition.
Imagine that you have a sheet plane in front of you, absolutely not filled with any image elements. In other words, a clean slate. How is it perceived by us? Naturally, the plane of the sheet does not carry any information, it is perceived by us as meaningless, empty, not organized. But! One has only to put on it any spot, or a line, a stroke, and this plane begins to come to life. This means that our pictorial elements, any - spot, line, stroke - enter into a spatial connection with it, forming some kind of semantic link. It's easier to say - the plane and any element on it begin to interact, conduct a dialogue with each other, and begin to "tell" us about something.
So we get the most primitive composition, which is even difficult to call such, but this is it.
Further. You and I have one universal tool given to us by nature, these are our eyes, our vision. So, our eye sees and perceives the world around us in proportions and proportions. What does it mean? Our vision is able to feel harmony, and what is not harmonious. Our eye is able to find the difference between the discrepancy between the sizes of individual parts and the whole, or vice versa, to see a complete correspondence. Vision is able to perceive combinations of colors that do not irritate the eye, or vice versa - they can be completely disharmonious. I will say more, our natural instinct from the very beginning, whether you like it or not, strives for a sense of harmony in everything. And subconsciously obliges by feeling to arrange objects and their parts so that not a single part of the composition is alien or disproportionate. You only need learn to listen to your feelings and understand how to achieve harmony, that is, to compose a good composition. Any.
Go ahead. Let's take some shape, for example, a circle and try to place it in different places on the plane of the sheet. We can see, we can feel that in some cases it will take a more stable position, in others it will be unstable. The picture on the left: see how our vision works - it would seem that for a circle the most stable place is the coincidence of its center with the geometric center of the sheet plane (drawing diagonal lines from corner to corner of the sheet, we get the center of the sheet at the intersection of these lines). However, that's not all. Due to an optical illusion (the eye somewhat overestimates the upper and underestimates the lower part of the plane), the circle is perceived to be slightly shifted down. Do you feel how the circle is somehow attracted to the base of the square? The circle is not clearly felt either in the middle or below, and this results in a misunderstanding of its position, disharmony is felt. How to achieve harmony? In what position should the circle be in order for us to perceive it harmoniously in the plane of the sheet? Naturally, it needs to be moved up a little. See picture on the right. Feel the stable position of the circle? He takes exactly his place in the square. Thus, our simplest composition will be more harmonious, and therefore more correct.
Understanding: the plane and the object form a kind of conditional spatial relationship that we can correct.
Our plane initially has a certain conditional structure, even if there is not a single element on it yet. The plane can be divided into axes - horizontal, vertical, diagonal. We get the structure - look at the picture on the left. In the center of the plane (geometric center), all the forces of this hidden structure are in a state of equilibrium, and the central part of the plane is perceived actively, while the non-central parts are perceived passively. This is how we feel. Such a perception of conditional space, so our vision seeks to find peace. Understanding this is rather arbitrary, but true.
The eye seeks to see harmony in what it observes - it determines the center of our composition, which seems to it more active, everything else is more passive. This is what only the study of one clean sheet plane can give us. Moreover, this is what only the study of one square-shaped leaf plane can give us. But the principle is the same. This is what concerns the structure of the sheet plane.
But this would be - completely insufficient - to dismember the plane or to compose a composition from one element on the sheet. It's boring and no one needs it, neither you nor the viewer. There is always more, more varied and much more interesting.
Now let's try to compose another composition, but with several participants. See picture on the left. What do we see, what do we feel? And we feel that our composition is not harmonious, because its individual parts are not balanced. The objects are strongly shifted to the left, leaving an empty, unnecessary, unused space on the right in the composition. And the eye always strives to balance everything and achieve harmony. What do we need to do here? It is natural to balance the parts of the composition so that they harmoniously make up one large composition and are part of one whole. We need to make sure that our vision is comfortable.
Look at the picture on the right. Is that how you feel more harmonious? I think yes. What does it mean? At visual perception elements and the plane of the sheet and in the analysis of their relationships: the influence of the internal forces of the structure of the plane on the nature of the behavior of the pictorial elements is felt. What does it mean? Our elements participating in the composition interact with conditional diagonal, vertical and horizontal axes of the plane. We have achieved a stable visual balance of all components of the composition relative to the geometric center. Even if not a single figure is in the middle here, they balance each other, forming together a center where vision expects it, and therefore it is more comfortable to look at this drawing than at the previous one.
And if you add a few more elements, then in this case they should be somewhat weaker in size or tone (or color) and in a certain place, so as not to visually knock down the geometric center of the composition, otherwise you will have to change the arrangement of the elements in order to achieve harmony. again, that is, harmonious perception. This is about the concept geometric center of the composition, which we have now introduced into the study.
You always need to strive for a stable visual balance of all components of the composition in its various directions - up and down, right and left, diagonally. And the composition should be harmonious from any position, in any turn - turn your composition upside down, or 90 degrees, it should also be pleasant to view, without any hint of discomfort. And it is easier to consider that the geometric center of the composition is located at the intersection of diagonal lines or a little higher, it is in this place that the eyes, after viewing the composition itself, whatever it may be, eventually stops and finds “rest”, calms down precisely in this place, even if there is no object on it. This is a conditional place. And a harmonious composition is one when it is no longer required to either introduce new elements or remove any of it. All acting "persons" participating in a holistic composition are subordinated to one general idea.
Fundamentals of composition - static balance and dynamic balance
The composition must be harmonious and its individual sections must be balanced. Let's go ahead and understand the following concepts:
Static balance And dynamic balance. These are ways to balance the composition, ways to create harmony. The methods are different, as they affect our vision. differently. Let's say we have two compositions. We look at the picture on the left: what do we have? We have a composition in which a circle and stripes participate. This shows the static balance of the circle and the stripes. How is it achieved? Firstly, if you look at the hidden structure of the composition sheet, you can understand that it is built primarily along the horizontal and vertical axes. More than static. Secondly: static elements are used - a circle and stripes, the circle is balanced by stripes and does not fly out of the plane and the conditional geometric visual center is located at the intersection of the diagonals, the composition can also be viewed from all sides, without giving rise to disharmony.
Now look at the picture on the right. We see a dynamic balance of several semicircles and circles with highlighting of the dominant color. How is dynamic balance achieved? If you look at the hidden structure of the sheet, then in addition to the horizontal and vertical axes of the composition, you can clearly see the use of the diagonal axis. Its presence, use, gives out a red circle, which in this composition is a dominant, a dominant spot, the area to which the eye pays attention first of all. We introduce the concept composition center.
Composition Center. Dominant
composition center, dominant, how to understand it: in the composition on the left there is a certain compositional center, or dominant, which is the plot of the composition and to which all other elements are subordinate. We can say more: all other elements enhance the significance of the dominant and "play along" with it.
We have the main protagonist - the dominant and secondary elements. Secondary elements can also be divided by importance. More significant - accents, and less significant - secondary elements. Their significance is determined only by the content of the story, the plot of the composition, and so all the elements of the composition are important and must be subordinated to each other, "twisted" into one whole.
The compositional center depends on:
1. Its size and the size of other elements.
2. Positions on the plane.
3. The shape of the item, which is different from the shape of other items.
4. The texture of the element, which is different from the texture of other elements.
5. Colors. By applying a contrasting (opposite color) to the color of the secondary elements (a bright color in a neutral environment, and vice versa, or a chromatic color among achromatic ones, or a warm color with a general cold range of secondary elements, or dark color among the light...
6. Developments. The main element, the dominant, is more developed than the secondary ones.
Compositional and geometric centers of the composition
Let's continue... This dominant, a conspicuous active element, is located at least not in the center of the sheet, but its weight and activity is supported by many secondary elements located diagonally further, opposite this dominant. If we draw another diagonal, then on both sides of it the "weight" of the composition will be conditionally the same. The composition is balanced both vertically and horizontally, and diagonally. Elements are used that differ in activity from the previous composition - they are more actively located and more active in shape. Although they are arranged elementarily, according to a conditional grid, and the structure of the composition is simple, but besides this, the composition has a dynamic balance, as it leads the viewer along a certain trajectory.
Note: the composition on the right was not at all created with the help of paints on paper, but I really liked it, and in fact, according to by and large, it doesn't change. It's also composition. We continue...
You say, where is the geometric center of the composition? I answer: the geometric center of the composition is where it should be. Initially, it may seem that it is located where the dominant is located. But the dominant is rather an accent, the plot of the composition, that is, the compositional center. However, we do not forget that there is also a hidden structure of the composition, the geometric center of which is located, as in the composition, on the left. The first glance the viewer turns to composition center, dominant, but after considering it, and further after reviewing the entire composition, your eye nevertheless stopped at geometric center, right? Check it out for yourself, follow your feelings. He found "calm" there, the most comfortable place. From time to time, he again examines the composition, paying attention to the dominant, but then again calms down in the geometric center. That is why such a balance is called dynamic, it introduces movement - visual attention is not scattered evenly throughout the composition, but follows a certain course that the artist created. Your eye will find movement in the compositional center, but will not be able to rest there. And it is precisely with the successful construction of the composition, namely, correct use geometric center, it is harmoniously visible from any turn. And the compositional center - from it the composition begins to conduct a dialogue with the viewer, this is the section of the composition that allows you to control the viewer's attention and direct him in the right direction.
Static composition and dynamic composition
Here we come to the following terms that we need to consider with you. These terms differ in meaning from static equilibrium and dynamic, meaning: you can balance any composition by nature in different ways. So... What is static composition? This is the state of the composition, in which the balanced elements as a whole give the impression of its steady immobility.
1. A composition based on which one can visually clearly observe the use of a hidden sheet structure for building. IN static composition there is a conditional order of construction.
2. Items for a static composition are chosen closer in shape, weight, texture.
3. There is a certain softness in the tonal solution.
4. Color solution build on the nuances - close colors.
dynamic composition, respectively, can be built in the opposite way. This is the state of the composition, in which elements balanced among themselves give the impression of its movement and internal dynamics.
I repeat: but, no matter what the composition is, you should always strive for a stable visual balance of all components of the composition in its various directions - up and down, right and left, diagonally.
And the composition should be harmonious from any position, in any turn - turn your composition upside down, or 90 degrees, with general masses and color / tonal spots, it should also be pleasantly viewed, without any hint of discomfort.
Composition basics - exercises
Additional exercises can be done with gouache, as an application, colored pencils and other materials with which your soul wishes to work. You can do from the exercise that you find easiest or most interesting to the most difficult.
1. Balance on a square plane a few simple-shaped elements. Follow the same principle to compose a simple landscape motif.
2. From simple stylized motifs of natural forms, sketch a closed composition (not going beyond the picture), enclosed in a sheet format. Closed composition - the action only spins in the space that you use, full disclosure. In the compositions there is a move in a circle.
3. Organize by principle dynamic composition(asymmetric arrangement of figures on a plane) several triangles and circles, varying the color, lightness of the figures and the background.
4. Applying the principle of division composition elements, balance in a rectangular format several shapes of different configurations. According to this principle, perform a simple composition on an arbitrary topic.
5. From simple stylized motifs of natural forms, using the principle of division of elements, sketch an open composition. An open composition is a composition that can be developed further - in breadth and height.
6. Divide the plane of the sheet into a conditional structure according to sensation and compose a composition based on it: a black and white solution.
Expressive means of composition
To expressive means of composition in decorative and applied arts relate line, point, spot, color, texture ... These tools are at the same time elements of the composition. Based on the tasks and goals set and taking into account the possibilities of a certain material, the artist uses the necessary means of expression.
The line is the main shaping element that most accurately conveys the nature of the outlines of any shape. The line performs a dual function, being both a means of representation and a means of expression.
There are three types of lines:
Straight: vertical, horizontal, oblique
Curves: circles, arcs
Curves with variable radius of curvature: parabolas, hyperbolas and their segments
The expressiveness of the associative perception of lines depends on the nature of their outline, tonal and color sound.
Lines transmit:
Vertical - striving up
Inclined - instability, fall
Polylines - variable movement
Wavy - uniform smooth movement, swing
Spiral - slow rotational movement, accelerating towards the center
Round - closed movement
Oval - the aspiration of the form to tricks.
Thick lines protrude forward, while thin lines recede into the depths of the plane. Performing sketches of the composition, they create combinations of certain lines, spots, stimulating the manifestation of its plastic and color properties.
Point - as one of means of expression widely used in many works of decorative and applied art. It helps to reveal the texture of the image, the transfer of conditional space.
The spot is used for the rhythmic organization of non-pictorial ornamental motifs. Spots of various configurations, organized into a certain composition, acquire artistic expressiveness and, emotionally influencing the viewer, cause him the appropriate mood.
Artists in their works often use as pictorial elements geometric figures: circle, square, triangle. Compositions from them can symbolize the movement of time, the rhythms of human life.
The rhythmic organization of ornamental motifs from non-pictorial elements (spots of abstract configuration, silhouettes of geometric figures), combined into compositional structures, becomes a means of artistic expression.
More composition tools
1. Subordination: a person in the first second begins to perceive the composition as a silhouette image against a certain background: the area of the silhouette, the pattern of the contour line, the degree of compactness, tone, color, surface texture, and so on.
2. Symmetry and asymmetry: An effective means of achieving balance in the composition is symmetry - the regular arrangement of form elements relative to a plane, axis or point.
Asymmetry - the harmony of an asymmetric composition is more difficult to achieve, it is based on the use of a combination of various patterns of composition construction. However, compositions built on the principles of asymmetry are in no way inferior in aesthetic value to symmetrical ones. When working on its spatial structure, the artist combines symmetry and asymmetry, focusing on the dominant patterns (symmetry or asymmetry), uses asymmetry to highlight the main elements of the composition.
3. Proportions are the quantitative relationship of the individual parts of the composition with each other and with the whole, subject to a certain law. A composition organized by proportions is perceived much easier and faster than a visually unorganized mass. Proportions are divided into modular (arithmetic), when the relationship of parts and the whole is formed by repeating a single given size, and geometric, which are built on the equality of relations and are manifested in the geometric similarity of articulations of forms.
4. Nuance and contrast: nuance relationships - slight, weakly expressed differences in objects in size, pattern, texture, color, location in sheet space. As a means of composition, nuance can manifest itself in proportions, rhythm, color and tonal relationships, and plasticity.
Contrast: it consists in a pronounced opposition of the elements of the composition. The contrast makes the picture noticeable, distinguishes it from others. There are contrasts: directions of movement, size, conditional mass, shape, color, light, structure or texture. With a contrast of direction, the horizontal is opposed to the vertical, the slope from left to right is the slope from right to left. In size contrast, high is opposed to low, long - short, wide-narrow. With mass contrast, a visually heavy element of the composition is located close to the light one. With the contrast of the forms, "hard", angular forms are contrasted with "soft", rounded ones. With the contrast of light, light areas of the surface are contrasted with dark ones.
6. Rhythm is a certain ordering of single-character elements of a composition, created by repeating elements, their alternation, increase or decrease. The simplest pattern on the basis of which the composition is built is the repetition of elements and intervals between them, called modular rhythm or metrical repetition.
The metric series can be simple, consisting of one element of the form, repeating at regular intervals in space (a), or complex.
A complex metric series consists of groups of identical elements (c) or may include individual elements that differ from the main elements of the series in shape, size or color (b).
The combination of several metric series, combined into one composition, greatly enlivens the form. In general, the metric order expresses static, relative peace.
A certain direction can be given to the composition by creating a dynamic rhythm, which is based on the laws of geometric proportions by increasing (decreasing) the size of similar elements or on a regular change in the intervals between the same elements of a series (a - e). A more active rhythm is obtained by simultaneously changing the size of the elements and the intervals between them (e).
With an increase in the degree of rhythm, the compositional dynamics of the form intensifies in the direction of thickening the rhythmic series.
To create a rhythmic series, you can use a regular change in color intensity. Under conditions of metric repetition, the illusion of rhythm is created as a result of a gradual decrease or increase in the intensity of the color of an element. When the size of the elements changes, the color can enhance the rhythm, if its intensity grows simultaneously with the increase in the size of the elements, or visually balance the rhythm, if the color intensity decreases with the increase in the size of the elements. The organizing role of rhythm in composition depends on relative magnitude the elements that make up the rhythmic series, and on their number (to create a series, you need to have at least four or five elements).
Warm bright colors are used to bring out the active elements of the composition. Cool colors visually remove them. Color actively affects the human psyche, is able to cause a variety of feelings and experiences: to please and upset, invigorate and oppress. Color acts on a person regardless of his will, since we receive up to 90% of information through vision. Experimental studies show that the least eye fatigue occurs when observing a color belonging to the middle part of the spectrum (yellow-green region). The colors of this region give a more stable color perception, and the extreme parts of the spectrum (violet and red) cause the greatest eye fatigue and irritation of the nervous system.
According to the degree of impact on the human psyche, all colors are divided into active and passive. Active colors (red, yellow, orange) have an exciting effect, accelerate the vital processes of the body. Passive colors (blue, purple) have the opposite effect: they soothe, cause relaxation, and reduce efficiency. Maximum performance is observed when the green color is active.
The natural human need is to color harmony = subordination of all the colors of the composition to a single compositional idea. The whole variety of color harmonies can be divided into nuance combinations based on rapprochement (identity of tonality, lightness or saturation), and contrast combinations based on opposition.
There are seven variants of color harmony based on similarity:
1. the same saturation with different lightness and color tone;
2. the same lightness with different saturation and color tone;
3. the same color tone with different saturation and lightness;
4. the same lightness and saturation with a different color tone;
5. the same color tone and lightness with different saturation;
6. the same color tone and saturation at different lightness;
7. the same color tone, lightness and saturation of all elements of the composition.
With changing tonality, harmony can be achieved by combining two main and intermediate colors (for example, yellow, green and mustard) or by contrasting tonality. Contrasting combinations are additional colors(for example, red with cool green, blue with orange, violet with yellow...) or from triads that include colors equally spaced on the color wheel (for example, yellow, purple, green-blue, red, green and blue-violet). Color harmony is formed not only by combinations of chromatic colors, but also by saturated chromatic with achromatic (blue and gray, brown and gray, and so on).
More exercises...
1. Draw a natural motif with a line and a spot
2. Perform a thematic composition using graphic means of expression - line, spot, dot
3. From objects freely placed in space, make a balanced still life composition, without resorting to perspective reductions of objects and spatial plans
8. Dismember the plane of a circle inscribed in a square (black and white solution), and make a rappoport composition from the dissected circles. You can do the same with other geometric shapes.
Artist and composition
Now we will not talk about how to compose a composition, but rather about the forces that impel us to create it. These forces are much stronger and more efficient, than you would thoroughly and spending many hours studying the technical aspects of its creation, but sparingly investing even a drop of your soul into the process. It is a strong motivation, an impelling force. You are an artist, regardless of what knowledge and skills you have and at what stage of development you are. Are you an artist, creative person. Before creating a composition, any, you hatch an idea, think, feel emotions, observe its creation even within yourself. Some of us dream about it, some of us day by day are under the influence of this magical process, sometimes it just prevents us from living like everyone else. ordinary people, because we create it from the very beginning, still within ourselves. Any composition, any creation is a sublimation of those sensations and experiences that accompany the artist and grow in him, in his mind. And then, one day, at one moment, you understand that here it is, creation, it can now be born into the world, and you finally understand what you must do. And the composition is born. Now nothing can stop your creative process. But by and large, the composition is the mood of the artist, thoughts, the very idea that he splashes onto the lifeless plane of a sheet or canvas, forcing them to LIVE their own, original life, unlike everyone else. And even if the artist is not very strong in studying the laws of drawing up a composition on a sheet, the creative power of creation is many times stronger, everything else will come with time. Don't be afraid to express your thoughts and feelings. Daring and simple, mysterious and evil, joyful and fantastic.... no one will tell about your thoughts better than you.
Any drawing begins with the compositional placement of images on a sheet of paper. The overall impression of the picture largely depends on how this or that image is arranged. It is necessary to study the principle of the arrangement of objects on a plane.
Word composition translated from Latin, literally means drawing up, binding, connecting parts. The construction of a work of art, due to its content, character and purpose, and largely determining its perception. Composition is the most important organizing moment of the artistic form, giving unity and integrity to the work, subordinating its elements to each other and to the whole. In the process of creating a decorative composition, the placement and distribution of pictorial elements occurs according to a certain scheme in a logical sequence laid down by the author. Visual means and stylistic features must be coordinated, subordinated to the whole, while we must not forget the details that play a very important role.
In other words, composition is the correct distribution of objects on a sheet: the selection of the main object, the filling of the entire plane of the sheet, the balance of the right and left edges, the presence of a common plan or idea. Before something can be drawn, the artist must come up with it.
1st tip:
To create an emotional and figurative composition, one must observe and see interesting events, characters, motives and different states of nature in the surrounding life. All this makes it possible to build interesting and original compositions.
2nd tip:
When choosing a composition format, it is necessary to take into account that:
The format stretched upwards will make the image slim and sublime;
The horizontal format conveys a sense of the frame, breadth and boundlessness of space;
The square format is best used to create balanced, static compositions;
The oval format is used for depicting a portrait of a person, since its configuration is easily correlated with the oval of the face or the contour of the chest image;
In a round format, a floral or plant composition is well arranged.
3rd tip:
Avoid the following mistakes:
Do not put anything on the very edge of the sheet, the exception is an object starting from the edge of the sheet and made in fragments;
Items should not touch the side and top edges of the sheet;
Don't draw everything too small;
Don't make things too big.
4th tip:
Remember the laws of perspective. An object that is closer to us in perspective is depicted on the plane of the sheet below. And the one that is farther from us is higher. So, closer - lower, further - higher.
5th tip:
When working in color, think about the laws of aerial perspective. Highlight the center of the composition with a spot and color. Work on the objects in the foreground in detail and highlight them with brighter, richer colors, but not louder than the center of the composition. The closer to the horizon line, the more the brightness and temperament of the color weakens, it becomes more chilly and transparent. Write distant plans with bluish, violet, blue, gray, silvery colors.
6th tip:
Getting to the last stage of work - generalization, check:
Is the center of the composition highlighted in color or tone;
Has the first plan been worked out in detail;
Is the first plan highlighted in color;
Does anything break out of the general idea of the composition;
Are both parts of the composite sheet balanced;
Are the laws of aerial perspective observed;
Does the composition attract the eye, is it pleasant to look at.
A correctly constructed composition cannot cause doubts and feelings of uncertainty. It should have a calming eye clarity of relationships, proportions.
