What thoughts, what concepts come to your mind first of all when you think of 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 photos! 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 wonder! Geometry is one of the most important aspects of composition. 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 into a particular frame. Don't believe? Read the article further - and you will see that we are right. I would like to think that the information presented below will give you an impetus to further develop your mastery of 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 ordinary mountain landscape. The triangles in this photo create an imaginary, but quite natural way, which leads the eye of the viewer looking at the picture from the fence in the foreground towards the mountains proper. 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 photography, a square is an ideal 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, Moreover, 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? Correctly. 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 of compositional construction of the 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.
On fig. 6.1 shows the simple geometric bodies that the examination composition should consist of. In addition to the bodies already familiar to you, dies and sticks are presented here. Dies - additional flat square, round and hexagonal elements, the height of which is equal to one-eighth of the edge of the cube. Sticks are linear elements of the composition, the length of which is equal to the edge of the cube. In addition, bodies of the same proportions, but of different sizes, can be used in the composition. These are the so-called compositions with scaling (since in this case there are identical bodies on the sheet, but, as it were, taken at a different scale). Consider compositions made by applicants in last years(Fig. 6.2-6.20).
The form of the examination composition, its size, placement on the sheet, the degree and nature of the interaction of geometric bodies have long been established. All these positions are reflected in the examination task to one degree or another. Of course, you should immediately make a reservation that we will talk about the exam task that exists today - it may be changed at the time when you read this section of the manual. However, let's hope that the essence of the task will be preserved, and you will be able to use our tips and recommendations.
First of all, we list the criteria by which your compositions will be evaluated:
Compliance of the completed drawing with the task;
The compositional idea as a whole, the harmony of the compositional solution and the complexity of the composition;
Leaf composition;
Competent image of individual composition elements, the correctness of perspective and frames;
In your work, choose a topic that is close to you. It can be a massive stability or a light, aspiring to some conditional distance or upward movement. The movement can be looped or extinguished, stopped. The mass may be dense or rarefied. A composition can be built on metric, uniform patterns or, conversely, on a simple or complex rhythm. It may contain a uniform distribution of mass or sharp, highlighted accents. The listed properties can be combined (except, of course, those that exclude each other in one work). It should be remembered that the feeling of the complexity of the composition arises from the perception of the complex harmony of some non-trivial idea, and not only from the complexity of the inserts, and certainly not from the heap of many bodies.
Correct - a prerequisite for good composition. You have probably already noticed that when your composition consists of only a few geometric bodies, it is quite difficult to maintain the correct perspective on the sheet. Even if the basis of the work is almost perfectly built, the addition of each new body leads to a gradual increase in distortion.
Tracking them and correcting them is quite difficult, especially in the first compositions, when experience and practical skills are still small. That is why, in order to correctly determine the disclosure of all faces and the direction of all lines on a sheet, various methods are used to order all these interrelated positions, bringing them into a single system. One of these systems is described in detail in the next task. This is the so-called grid - a spatial structure that determines the opening of the faces of geometric bodies and the direction of lines throughout the sheet.
In the process of preparing for the exam, the "grid" will help you to bring together all the variety of problems associated with the process of building a composition, and at once, easily solve them. Of course, the "grid" is a useful thing, but it, of course, has its pros and cons.
On the one hand, when depicting compositions based on a "grid", you, of course, spend some (sometimes quite a lot) time on preparatory stage(drawing of the "grid" itself), thereby reducing the time of work on the actual composition.
On the other hand, the "grid" can significantly reduce the time for solving purely technical problems related to determining the directions of horizontal lines and the disclosure of various surfaces. Of course, a certain skill will allow you to minimize the time spent on the "mesh", but if a mistake is made in the "mesh" (which is quite likely under the stressful conditions of the exam), then you can notice this error only by drawing the first geometric body.
What to do in this case - fix the grid or abandon it altogether to make up for lost time? It is only obvious that you should start working on the exam composition from the “grid” only if you have learned how to make the “grid” quickly and efficiently for the exam, bringing this process almost to automatism, and easily build a composition based on it.
Another question that often worries the applicant is the question of tie-ins: what tie-ins should be done, how difficult should they be, and even should they be done at all? To begin with, it is possible not to make frames in the exam composition - in the examination task, the use of frames is only recommended and is not a prerequisite, however, it should be understood that a composition without frames is significantly inferior in complexity and artistic expression. Do not forget that your composition will be evaluated among others, and therefore, by making a composition without tie-ins, you will obviously reduce the competitiveness of your own (worries. Of course, the level of the exam composition grows from year to year, and this dictates the inclusion of complex tie-ins in the composition that make examination paper more expressive and interesting. However, their implementation requires additional time, which is limited under the conditions of the exam. In this situation, it all depends on your experience - if you have studied hard for your composition exam, most likely you already have your favorite frames, which can be quite complex, but, outlined many times, they are drawn easily and therefore quickly. But do not get carried away with complex frames, overcomplicate the work - remember that even a composition made using simple frames can be quite complex and expressive. It is also important to say how geometric bodies should crash into each other. Sometimes in the compositions geometric bodies are embedded so slightly that it seems as if they are not embedded into each other, but only barely touching. Such compositions tend to evoke a sense of instability, unsteadiness, and incompleteness. The viewer has an irresistible desire to make such a composition denser, to embed geometric bodies deeper into each other. Analyzing such a work, it is difficult to speak of it as a composition - a group of harmoniously subordinated volumes. In other compositions, the bodies are so deeply embedded in each other that it is no longer clear - what kind of bodies are they? Such a composition, as a rule, looks like a complex mass with parts of geometric bodies sticking out of it and does not create a sense of harmony in the viewer. The bodies in it cease to exist as independent objects, turning into a geometric mixture. If we do not consider such extreme cases (when geometric bodies almost do not crash into each other or when they turn into a single dense mass), to create a medium-density composition, one should adhere to next rule: a geometric body should crash into another (or other) geometric bodies by no more than half, better - by one third. In addition, it is desirable that the viewer can always determine the main dimensions of a geometric body from its visible part. In other words, if a cone cuts into any body, its top, a significant part of the lateral surface and the circumference of the base should remain visible in the figure. If it crashes into any body, then parts of the lateral surface of the cylinder and the circles of its bases should remain visible. Particular mention should be made of inserts of cubes and tetrahedrons - in the composition these geometric bodies form a background or, in a way, a framework for arranging and inserting other geometric bodies that are more difficult to construct. Therefore, inserts are allowed when the visible parts of cubes and tetrahedrons make up less than half of their volumes.
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 the feeling and concept of correct location elements are very intuitive. However, there are several completely non-intuitive rules.
The arrangement of simple geometric shapes in the image on the left looks much more harmonious. Why?
Harmony- it's harmony. A single whole in which all elements complement each other. Some single mechanism.
The largest such mechanism is the world around us, in which all elements are interconnected - animals breathe air, consume oxygen, exhale carbon dioxide, plants use its carbon and the energy of the sun 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.
Choose one or two best sketch and enclose them in frames, the proportions of which correspond to the proportions of the future drawing. So, an A-3 sheet measuring 30 by 40 centimeters has a 3 to 4 prop (Figure 172). In search of the most successful composition of the sheet, you may have to correct the point of view, and in some cases even make changes to the setting itself.
When composing the sheet, you should also take into account the location of the illuminated and shadow surfaces, as well as the boundaries of the falling shadows. Remember that chiaroscuro can disrupt the compositional harmony of a line drawing.
Stage 1
Figure 173 Starting a drawing on a large sheet, try to accurately transfer to it the arrangement of objects fixed in the best sketch. Mark the location of each geometric body with light lines. Once again check the size of the entire composition, as well as its compliance with the size of the sheet. Make the necessary changes to the drawing and continue working, refining the size of each geometric body in relation to other bodies and to the entire composition as a whole.
Stage 2
Figure 174. Linearize all geometric bodies. In the course of work, pay special attention to the correspondence of the disclosure of squares and ellipses lying in horizontal and vertical planes.
Stage 3
Figure 175. At this stage, it is necessary to strengthen those lines that are closer to the viewer, so you will create the effect of the depth of space already in the linear-constructive drawing. Mark the lines of your own and falling shadows and cover all the shadows with a light stroke.
Stage 4
Figure 176. Continue working in the shadows, making them more intense towards the viewer and the light source, and the falling shadows also towards the subject that casts the shadow. Gradually move on to work in the light. Carefully model the shape using knowledge of the distribution of light and shade on geometric bodies. On round surfaces, create smooth light and shade transitions; on bodies formed by planes - sharp and clear.
Comparing the light and dark tones of gypsum in nature, one must strive to correctly convey their relationship in the drawing, 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 far removed from the viewer look less contrasted due to the thickness of the air medium, which weakens the shadow and darkens the light. If the size of the depicted production is small, this effect cannot be observed. It is created artificially in the drawing: geometric bodies in the foreground have a greater contrast between light and shadow than bodies in the background, while in nature the difference in illumination of near and far plans can be almost imperceptible.
the main task architectural drawing - not the transfer of the state of the object, but, if possible, ver
new image of the form, creation of volume. That is why, when drawing, we do not copy nature, but try
trying to see, select and transfer into our work only certain features that help us to re-
sew this task.
Stage 5
Figure 177 Summarize the drawing. Once again, carefully follow the tonal solution of the illuminated and shadow surfaces. At the final stage, the painter does not work with a single object, detail, part of the image, but with the entire sheet at the same time, achieving the integrity of the work, the harmonious subordination of its parts. To do this, if necessary, increase the tone of the illuminated surfaces in the background and the shadow surfaces in the foreground.
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Chapter 72
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Chapter 74
Linear-constructive drawing of a composition of geometric bodies according to the representation.
Make a sketch of the composition, observing the given proportions of geometric bodies (Fig. 178). Determine the general nature of the future composition, the position of the horizon line, the direction of the horizontal edges, the main tie-ins. We will immediately warn you about a typical mistake that is often made by those who work on their first composition by submission. Placing geometric bodies on a sheet, a novice draftsman quite freely places round bodies next to each other (for example, a ball and a cone) or round bodies and bodies that have inclined planes(for example, a ball and a hexagonal prism). The insertion of such bodies into each other is very complex. Taking into account the limited time for completing the examination task, it would be more correct to use simple inserts in the composition, when round bodies and bodies with inclined surfaces intersect horizontal and vertical planes.
Do not overly carefully draw a sketch - on a small scale, you still can not solve all compositional issues. Even a very detailed sketch cannot be accurately transferred to a large sheet. Secondary and insignificant elements will inevitably undergo quite serious changes, and therefore you should not pay too much attention to them 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 the horizontal and vertical planes, as well as the uniform convergence of 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.
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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 complex shape in the form of 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, introduce a light tone into the drawing, having previously outlined the lines of own and falling shadows: this will allow you to refine the main masses and reveal possible mistakes before starting tonal work.
Chiaroscuro on architectural details is also distributed according to the laws of drawing simple geometric bodies. On curved surfaces, the transitions from light to shadow are soft, gradual, on faceted surfaces - sharp, clear. The closer the light and shadow on the object to the drawing and the light source, the stronger the light-and-shadow contrast, and, conversely, the distant parts of the objects have a dimmer light and a faded shadow. Falling shadows are more saturated with tone, own ones are highlighted by reflexes, and therefore more airy and transparent. Both in a linear-constructive and in a black and white drawing, try to work evenly over the entire sheet, constantly comparing individual parts of the image with the whole. At the final stage, refine the tonal solution and summarize the work, striving for a sense of completeness and harmony.
Vase drawing.
As an object for drawing, you are offered a plaster cast from a Greek vase (amphora) dating from the 4th century BC. The masters of that time were distinguished by an amazing sense of proportions and constructive logic.
Start drawing a vase, as you would drawing any complex architectural detail, by analyzing its shape. Carefully examine the vase (Fig. 184). Mentally divide it into separate volumes and compare them with simple geometric bodies. The body of the vase has a complex drop-like shape, which can be conditionally represented as a combination of two balls and a cone, so the contour of the vase body can be divided into three parts in height, each of which has its own curvature. The neck of the vase is similar to a cylinder, which has a noticeable thinning in the middle, and is bounded above and below by narrow shelves. The vase is crowned with a massive neck in the shape of a quarter shaft. The supporting part (base) of the vase consists of two cylinders of different diameters, connected by a gooseneck profile. The handles of the vase have a complex three-part structure and thicken at the points of attachment to the neck and body of the vase.
Continuing the study of nature, make a drawing of the frontal projection of the vase. To do this, you will have to use not only the sighting method, but also a long strip of paper and even a ruler. The projection should be large enough, only then you will be able to reflect in it all the information you received: the proportional ratio of the main masses, the dimensions separate parts in height and width
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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.
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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. Mark the position and dimensions in the figure small parts vases.
Stage 3
Figure 188. Outline the outline of the vase in orthogonal projection. Such a contour does not take into account future changes, but is a clear constructive basis for further work.
Stage 4
Figure 189. On the horizontal axes, in the places of characteristic sections, draw ellipses. Remember that the ellipse expands the further it is from the horizon. Connect the ellipses with tangent arcs at the junctions of one shape with another. Sketch the handles of the vase, generalizing them to a simple rectangular shape, and only after making sure that the basic relationships are correct, work out their details.
Stage 5
Figure 190. The last stage is tonal study. Start as usual by defining the lines of your own and drop shadow. To do this, use nature and the knowledge already gained about the nature of chiaroscuro on simple geometric bodies. Own shadows on the neck of the vase, belts, shelves of the base, as well as handles - are similar to the shadows on the cylinder; the shadow on the neck is like the shadow on the ball; the shadow on the body of the vase can be represented as a complex combination of the shadow on two balls and a cone. Carefully consider the falling shadows on the vase. Analyze the forms from which shadows fall on the neck of the vase, its body, base, handles. Sometimes it is convenient to do this with a pencil. If you slowly move the tip of the pencil along the line of your own shadow on the vase, the shadow from the tip of the pencil will also move along the line of the falling shadow, fixing at each moment of this movement a certain pair: a point and a shadow from it.
After determining the position of the lines of own and falling shadows, continue the tonal drawing in the usual sequence. First, gain enough tone in the shadows, separating them from the light. Then you need to strengthen your own shadows towards the viewer and the light source, and the falling shadows - also towards the source of the falling shadow. Continuing to work in the shadows, gradually go into the sowing, creating smooth light and shade transitions on spherical and cylindrical surfaces. Completing the drawing, generalize the light and shade relationships, trying to harmoniously subordinate all elements of the image to the general tonal design.
The proposed staging of work is not accidental: it contains an important rule that is obligatory for everyone, and especially for beginner draftsmen: drawing from the general to the particular and from the particular to the general. Always start drawing with the total mass and only then proceed to the details. But do not immediately work out one of the details to the end. Lead the drawing all over the sheet, moving from one part to another, comparing the parts with the general, constantly covering the whole with your eyes. This rule is true for both linear-constructive and black-and-white drawings.
Naturally, your desire is to see the final result as quickly as possible, to jump to the next stage without finishing the previous one. If you want - try to do it - and you will see how a logical and calm work turns into a chaotic throwing from one detail to another in an effort to put together a drawing that “crumbles” before your eyes.
Remember also that the design is the basis of any forms. Errors in construction cannot be hidden by the most virtuoso tonal study. Therefore, errors in construction and proportions discovered during the work must be corrected immediately.
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Chapter 86
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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. Order - strictly verified art system, expressing the essence of the work of the post-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 structure, expressed in an artistic form, which is called tectonics in architecture. Try to feel in the drawing of the capitals how the shape changes from the upper, square parts to the lower, round ones, how each of the profiles is designed to support the elements located above and to transfer pressure from top to bottom.
Start your drawing by analyzing the shape of the capital (Fig. 191). The upper part of the capital is square in terms of abacus (abacus) - a plate with a heel and a shelf. Echin is a quarter of the shaft and mates with the neck of the column through three successively decreasing belts. Astragalus, consisting of a roller and a shelf, passes into the trunk of the column through a fillet. The trunk of the column is decorated with twenty long grooves, semicircular in plan, - flutes, which have semicircular ends.
Make a drawing of the frontal projection of the capital. The drawing should be large enough so that the details are clearly visible. Sign the names of all parts of the capital in the picture. This will make it easier for you to remember them. Analyze the main proportions of the capital, select the total height of the echinus and girdle as a unit of measurement. Compare your drawing with drawing 192.
| Fig.191 |
Continuing to study the form, go around the capital around and examine it from different points. You will notice that the main volume, which is a round symmetrical shape, remains unchanged. Only the position of the square abacus changes. Choose a point of view for the drawing so that one side of the abacus is more open to you and the other side is less. The optimal ratio is 1/2-1/3. The horizon line should pass just below the capital, then its proportions will be close to orthogonal. If necessary, make a sketch to more accurately determine the composition of the sheet.
drawing of architectural details
Stage 1.
Figure 193. Place the future image on the sheet, determining its dimensions vertically and horizontally. Mark the corners of the abacus, the main axis, and also determine the dimensions corresponding to the main parts of the capital. It is very important at this stage of the linear drawing to find the correct ratio of the opening of the upper ellipse of the echinus and the square of the abacus. Traditionally, draughtsmen draw the abacus first, and then have considerable difficulty fitting the ellipse into it. Do it differently: having decided on the size and opening of the ellipse, draw it. Then describe a square around the ellipse, comparing the directions of its sides with nature. Stage 2
Figure 194. Mark all parts of the capital vertically and determine their horizontal dimensions. Draw the main masses, taking into account perspective cuts. Depicting the ellipses of the girdle, neck, astragalus and the lower section of the column, correlate their openings with each other and with the already drawn upper echinus ellipse. Stage 3
Figure 195. Draw flutes. Properly portray them will help you plan the trunk of the column. If you do not have the opportunity to place the plan on the drawing itself, then pin an extra sheet of paper to your work. The points transferred from the plan to the perspective image will make the drawing accurate and convincing. At this stage, the drawing is mostly linear, but when refining the main elements, it is possible to apply a tone that helps to graphically reveal the "movement" of the main surfaces. At the same time, the tone should be very light, suggesting further constructive elaboration of the form. Stage 4
Figure 196. Reveal the shape of the capital by means of chiaroscuro. A clear understanding of the mutual Location in space of the light source, the object and the painter makes it possible to understand the geometry of own and falling shadows, as well as to identify the main tonal relationships. When defining the lines of own and falling shadows, use the knowledge about the nature of chiaroscuro on simple Forms: mentally divide the capital into separate volumes and compare them with the geometric bodies already known to you.
Stage 5
Figure 197 Work out in detail the shapes in the shadows and in the light, generalize the light and shade relationships
images, harmoniously coordinate them with each other, taking into account aerial perspective.
Chapter 92
drawing of architectural details 93
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Chapter 94
drawing of architectural details 95
Ionic drawing.
Ionic is an architectural ornamental element, consisting of an ovoid shape cut off from above, framed by a “shell”, a profiled roller, and lancet leaves pointing downwards. In architecture, ionics are widely used on capitals and cornices of the Ionic and Corinthian orders. Ionic has two axes of symmetry, one of them runs along the egg-shaped form, the other - in the middle of the lancet leaf. Studying the form, make a plan, facade and side facade (Fig. 198). This will help you better understand the structure of the ionic, and will also greatly facilitate further work on the drawing.
Stage 1
Figure 199. Outline the dimensions of the future image on the sheet. Draw in perspective a rectangular slab that is the basis for the ionic.
Stage 2
Figure 200. Draw the diagonals of the ionic base plate and draw a vertical middle line - the main axis of symmetry. Imagine the generalized form of the ionic as a solid quarter shaft with a beveled top, to which a small roller adjoins from below. Draw its plan on the upper surface of the ionic, separate the central egg-shaped volume from the lateral volumes, outline the axes of symmetry passing through the center of the lancet leaves, and specify the main axis. At this stage, pay special attention to the perspective reduction of horizontal segments of equal length.
Stage 3
Figure 201. Draw the details - egg, shells, profiled roller, leaves. Depicting the leaves, make them a large front view in the fields (Fig. 202). This will help you draw the leaves correctly in perspective.
Stage 4
Figure 203. Draw lines of own and falling shadows. Start, as usual, with shadow areas and stroke them several times, separating them from the light. Then you need to strengthen the falling shadows towards the object casting the shadow, the viewer and the light source. At the same time, strengthen the lines of your own shadows, forming zones of reflections. At this stage, do not get carried away with the details, "sculpt" general form in accordance with the law of aerial perspective and the basic principles of the distribution of chiaroscuro on simple geometric bodies.
Stage 5
Figure 204. Continuing 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.
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Chapter 98
plaster head drawing 99
Plaster head drawing
The human head is the most complex 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 a detailed examination of the skull and muscles, it would be advisable to refer to anatomical atlases and manuals. AT the following figures 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 they developed in great detail ideal proportions human body. The figure of Doryphorus - a young hoplite warrior (spearman) - was the embodiment of this canon. At the same time, she was supposed to become the personification of the ideal citizen of the Greek polis: a man like the immortal gods, equally beautiful in body and spirit, a courageous defender hometown. The face of Doryphoros is schematic, it is devoid of individual traits and expressions, which is why the head of Doryphoros is offered for the first "introductory" work, as a result of which you will receive an initial, largely simplified idea of the shape of the head.
The head has a brain and facial parts. Its external plasticity is known with the help of a number of anatomical points - nodes ( reference points or lighthouses) and lines. So, on the head are clearly visible: the chin tubercles, the line of the lower jaw, the corners of the mouth, the lines limiting the area of the mouth, the line of the incision of the lips, the filter, the base, the tip and wings of the nose, the bridge of the nose, the cheekbones, the zygomatic arches, the orbital edges, the tear ridges, the eyebrow arches , lines limiting the eyebrow arches, frontal tubercles, temporal lines, crown, auricles, auditory openings, mastoid processes of the temporal bones, parietal and occipital tubercles, nuchal line, border of the neck and chin, jugular fossa and protrusion of the seventh cervical vertebra. Find all these points and lines in figures 205 and 206, and then on the plaster head.
Knowing the anatomical points - beacons and characteristic lines, you will never get confused in the details and will always be able to distinguish the main from the accidental. For a better understanding of the external spatial relationships of the points of the head, a simplified diagram is often used, representing its structure in the form of an irregular polyhedron. It is impossible, however, to abuse such schemes in the drawing. They are necessary only as visual aids for a competent and convincing image of a human head.
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Chapter 100
drawing of architectural details 101
Draw from the drawing by P.I.Churilin
from study guide"The structure of the human head"
Chapter 102
Draw from PIChurilin's drawing
from the textbook "The structure of the human head"
It is also customary to study the human head by analyzing its sections in three mutually perpendicular planes: sagittal, horizontal and frontal (Fig. 207).
The sagittal plane is the plane of symmetry of the body. Its name comes from the Latin "sagttta" - an arrow. A cut in this plane gives us the midline, which is the basis of the professional line of the face and is very important for the drawing of the head.
The horizontal plane passes through the base of the occiput and the base of the nose.
Frontal plane perpendicular to the first two and "cuts" the head at its widest point. It passes through the top of the head, the parietal tubercles and the fulcrum of the skull on the spine. The study of these sections, as well as orthogonal projections of the head: front, back, side and top views will help to you better understand the external plasticity of the head and more accurately convey it in your drawing.
plaster head drawing 103
The task of the “introductory” drawing is a good composition on the sheet, the total volume correctly conveyed, as well as the exact location and size of each detail of the head.
Stage 1
Figure 208. Starting work, determine the position of the horizon line and the angle. To do this, mentally enclose your head in a cube. Find the overall dimensions and place the future image on the sheet using short serifs. Remember that if you draw the head in front - the spaces on the left and right should be equal so that the image does not “fall over”, but if you draw the head in profile, in 3/4 or 7/8 - the sheet space in front of the head (from the side face) should be larger than from the back of the head. With light lines outline the outline of the head (outline).
Stage 2
Figure 209. Draw the main large parts: separate the mass of the head from the neck, outline the front part, its front plane and easily draw an axial profile line. Specifying the profile line, find the characteristic points lying on it: the point of the top of the forehead (on the hairline), the point between the eyebrows, the point of the base of the wings of the nose and the point of fracture of the chin. These points determine the main canonical proportional relations of the parts of the head. According to the Greek classical canon, the distances between these points must be equal. Draw horizontal lines through these points (in the figure extending to the vanishing point on the horizon) and mark on them, respectively, the width of the forehead, the base of the nose and the chin. For the correct choice of the directions of these lines, use the sighting method.
In accordance with the ancient canon, along the line of the eyes, the ancient head is divided into two equal parts - from the top of the head to the line of the eyes and from the line of the eyes to the base of the chin. The segment from the superciliary arches (the point between the eyebrows) to the base of the wings of the nose is divided into three equal parts - the line of the eyes passes along the upper division line, and the base and wings of the nose are separated along the lower line. The segment between the point of the base of the wings of the nose and the fracture of the chin is also divided into three equal parts. The middle line of the mouth passes along the upper division line, which is also called the lip cut line, the lower line divides the chin in half. The distance between the eyes is equal to the length of the eye, i.e. the eye line is also divided into three equal parts. The height of the ear is equal to the length of the nose.
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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.
Farther. 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 good composition. Any.
Move on. Let's take some shape, for example, a circle and try to place it in different places on the plane of the sheet. We can see, we can feel that in some cases it will take a more stable position, in others it will be unstable. The picture on the left: see how our vision works - it would seem that for a circle the most stable place is the coincidence of its center with the geometric center of the sheet plane (drawing diagonal lines from corner to corner of the sheet, we get the center of the sheet at the intersection of these lines). However, that's not all. Because of optical illusion(the eye somewhat overestimates the upper and underestimates the lower part of the plane) the circle is perceived to be slightly shifted down. Do you feel how the circle is somehow attracted to the base of the square? The circle is not clearly felt either in the middle or below, and this results in a misunderstanding of its position, disharmony is felt. How to achieve harmony? In what position should the circle be in order for us to perceive it harmoniously in the plane of the sheet? Naturally, it needs to be moved up a little. See picture on the right. Feel the stable position of the circle? He takes exactly his place in the square. Thus, our simplest composition will be more harmonious, and therefore more correct.
Understanding: the plane and the object form a kind of conditional spatial relationship that we can correct.
Our plane initially has a certain conditional structure, even if there is not a single element on it yet. The plane can be divided into axes - horizontal, vertical, diagonal. We get the structure - look at the picture on the left. In the center of the plane (geometric center), all the forces of this hidden structure are in a state of equilibrium, and the central part of the plane is perceived actively, while the non-central parts are perceived passively. This is how we feel. Such a perception of conditional space, so our vision seeks to find peace. Understanding this is rather arbitrary, but true.
The eye seeks to see harmony in what it observes - it determines the center of our composition, which seems to it more active, everything else is more passive. This is what only the study of one clean sheet plane can give us. Moreover, this is what only the study of one square-shaped leaf plane can give us. But the principle is the same. This is what concerns the structure of the sheet plane.
But this would be - completely insufficient - to dismember the plane or to compose a composition from one element on the sheet. It's boring and no one needs it, neither you nor the viewer. There is always more, more varied and much more interesting.
Now let's try to compose another composition, but with several participants. See picture on the left. What do we see, what do we feel? And we feel that our composition is not harmonious, because its individual parts are not balanced. The objects are strongly shifted to the left, leaving an empty, unnecessary, unused space on the right in the composition. And the eye always strives to balance everything and achieve harmony. What do we need to do here? It is natural to balance the parts of the composition so that they harmoniously make up one large composition and are part of one whole. We need to make sure that our vision is comfortable.
Look at the picture on the right. Is that how you feel more harmonious? I think yes. What does it mean? In the visual perception of the 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 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, and 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, an area that the eye pays attention to in the first place. We introduce the concept composition center.
Composition center. Dominant
Compositional center, dominant, as it is understood: in the composition on the left there is a certain compositional center, or dominant, which is the beginning of the composition and to which all other elements are subordinate. We can say more: all other elements enhance the significance of the dominant and "play along" with it.
We have the main protagonist - the dominant and secondary elements. Secondary elements can also be divided by importance. More significant - accents, and less significant - secondary elements. Their significance is determined only by the content of the story, the plot of the composition, and so all the elements of the composition are important and must be subordinated to each other, "twisted" into one whole.
The compositional center depends on:
1. Its size and the size of other elements.
2. Positions on the plane.
3. The shape of the item, which is different from the shape of other items.
4. The texture of the element, which is different from the texture of other elements.
5. Colors. By applying 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 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, the correct use of the geometric center, that 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 a static composition, there is a conditional order of construction.
2. Items for a static composition are chosen closer in shape, weight, texture.
3. There is a certain softness in the tonal solution.
4. Color solution build on the nuances - close colors.
dynamic composition, respectively, can be built in the opposite way. This is the state of the composition, in which elements balanced among themselves give the impression of its movement and internal dynamics.
I repeat: but, no matter what the composition is, you should always strive for a stable visual balance of all components of the composition in its various directions - up and down, right and left, diagonally.
And the composition should be harmonious from any position, in any turn - turn your composition upside down, or 90 degrees, with general masses and color / tonal spots, it should also be pleasantly viewed, without any hint of discomfort.
Composition basics - exercises
Additional exercises can be done with gouache, as an application, colored pencils and other materials with which your soul wishes to work. You can do from the exercise that you find easiest or most interesting to the most difficult.
1. Balance on a square plane a few simple-shaped elements. Follow the same principle to compose a simple landscape motif.
2. From simple stylized motifs of natural forms, sketch a closed composition (not going beyond the picture), enclosed in a sheet format. Closed composition - action twists only in the space you use, full disclosure. In the compositions there is a move in a circle.
3. Organize by principle dynamic composition(asymmetric arrangement of figures on a plane) several triangles and circles, varying the color, lightness of the figures and the background.
4. Applying the principle of dividing the elements of the composition, balance several figures of various configurations in a rectangular format. 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, evoke an appropriate mood in him.
Artists in their works often use as pictorial elements geometric figures: circle, square, triangle. Compositions from them can symbolize the movement of time, the rhythms of human life.
The rhythmic organization of ornamental motifs from non-pictorial elements (spots of abstract configuration, silhouettes of geometric figures), combined into compositional structures, becomes a means 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 subdivided 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 manifest themselves in the geometric similarity of divisions of forms.
4. Nuance and contrast: nuance relationships - slight, weakly expressed differences in objects in size, pattern, texture, color, location in sheet space. As a means of composition, nuance can manifest itself in proportions, rhythm, color and tonal relationships, and plasticity.
Contrast: it consists in a pronounced opposition of the elements of the composition. The contrast makes the picture noticeable, distinguishes it from others. There are contrasts: directions of movement, size, conditional mass, shape, color, light, structure or texture. With a contrast of direction, the horizontal is opposed to the vertical, the slope from left to right is the slope from right to left. With a contrast of size, high is opposed to low, long to short, wide to narrow. With mass contrast, a visually heavy element of the composition is located close to the light one. With the contrast of the forms, "hard", angular forms are contrasted with "soft", rounded ones. With the contrast of light, light areas of the surface are contrasted with dark ones.
6. Rhythm is a certain ordering of single-character elements of a composition, created by repeating elements, their alternation, increase or decrease. The simplest pattern on the basis of which the composition is built is the repetition of elements and intervals between them, called modular rhythm or metrical repetition.
The metric series can be simple, consisting of one element of the form, repeating at regular intervals in space (a), or complex.
A complex metric series consists of groups of identical elements (c) or may include individual elements that differ from the main elements of the series in shape, size or color (b).
The combination of several metric series, combined into one composition, greatly enlivens the form. In general, the metric order expresses static, relative peace.
A certain direction can be given to the composition by creating a dynamic rhythm, which is based on the laws of geometric proportions by increasing (decreasing) the size of similar elements or on a regular change in the intervals between the same elements of a series (a - e). A more active rhythm is obtained by simultaneously changing the size of the elements and the intervals between them (e).
With an increase in the degree of rhythm, the compositional dynamics of the form intensifies in the direction of thickening the rhythmic series.
To create a rhythmic series, you can use a regular change in color intensity. Under conditions of metric repetition, the illusion of rhythm is created as a result of a gradual decrease or increase in the intensity of the color of an element. When the size of the elements changes, the color can enhance the rhythm, if the growth of its intensity occurs 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 a composition depends on the relative size of the elements that make up the rhythmic series, and on their number (to create a series, you need to have at least four or five elements).
Warm bright colors used to identify the active elements of the composition. Cool colors visually remove them. Color actively affects the human psyche, is able to cause a variety of feelings and experiences: to please and upset, invigorate and oppress. Color acts on a person regardless of his will, since we receive up to 90% of information through vision. Experimental studies show that the least eye fatigue occurs when observing a color belonging to the middle part of the spectrum (yellow-green region). The colors of this region give a more stable color perception, and the extreme parts of the spectrum (violet and red) cause the greatest eye fatigue and irritation of the nervous system.
According to the degree of impact on the human psyche, all colors are divided into active and passive. Active colors (red, yellow, orange) have an exciting effect, accelerate the vital processes of the body. Passive colors (blue, purple) have the opposite effect: they soothe, cause relaxation, and reduce efficiency. Maximum performance is observed when the green color is active.
The natural human need is to color harmony = subordination of all the colors of the composition to a single compositional idea. The whole variety of color harmonies can be divided into nuance combinations based on rapprochement (identity of tonality, lightness or saturation), and contrast combinations based on opposition.
There are seven variants of color harmony based on similarity:
1. the same saturation with different lightness and color tone;
2. the same lightness with different saturation and color tone;
3. the same color tone with different saturation and lightness;
4. the same lightness and saturation with a different color tone;
5. the same color tone and lightness with different saturation;
6. the same color tone and saturation at different lightness;
7. the same color tone, lightness and saturation of all elements of the composition.
With changing tonality, harmony can be achieved by combining two main and intermediate colors (for example, yellow, green and mustard) or by contrasting tonality. Contrasting combinations are additional colors(for example, red with cool green, blue with orange, violet with yellow ...) or from triads that include colors equidistant on color wheel(for example, yellow, magenta, green-blue, red, green, and blue-violet). Color harmony is formed not only by combinations of chromatic colors, but also by saturated chromatic with achromatic (blue and gray, brown and gray, and so on).
More exercises...
1. Draw a natural motif with a line and a spot
2. Perform a thematic composition using graphic means of expression - line, spot, dot
3. From objects freely placed in space, make a balanced still life composition, without resorting to perspective reductions of objects and spatial plans
8. Dismember the plane of a circle inscribed in a square (black and white solution), and make a rappoport composition from the dissected circles. You can do the same with other geometric shapes.
Artist and composition
Now we will not talk about how to compose a composition, but rather about the forces that impel us to create it. These forces are much stronger and more efficient, than you would thoroughly and spending many hours studying the technical aspects of its creation, but sparingly investing even a drop of your soul into the process. It is a strong motivation, an impelling force. You are an artist, regardless of what knowledge and skills you have and at what stage of development you are. You are an ARTIST, a creative person. Before creating a composition, any, you hatch an idea, think, feel emotions, observe its creation even within yourself. Some of us dream about it, some of us day by day are under the influence of this magical process, sometimes it just prevents us from living like all ordinary people, because we create it from the very beginning still inside ourselves. Any composition, any creation is a sublimation of those sensations and experiences that accompany the artist and grow in him, in his mind. And then, one day, at one moment, you understand that here it is, creation, it can now be born into the world, and you finally understand what you must do. And the composition is born. Now nothing can stop your creative process. But by and large, the composition is the mood of the artist, thoughts, the very idea that he splashes onto the lifeless plane of a sheet or canvas, forcing them to LIVE their own, original life, unlike everyone else. And even if the artist is not very strong in studying the laws of drawing up a composition on a sheet, the creative power of creation is many times stronger, everything else will come with time. Don't be afraid to express your thoughts and feelings. Daring and simple, mysterious and evil, joyful and fantastic.... no one will tell about your thoughts better than you.
