Draw a composition of geometric shapes. Constructing a perspective composition of geometric bodies

The perspective of the composition is carried out according to individual instructions. Number individual assignment corresponds to the serial number according to the list in the group journal. Individual tasks in table No. 3

Table No.

Instructions for completing SHEET 1

Before making a perspective drawing of the composition geometric bodies you must first compose the composition itself, i.e. determine relative position objects, their position relative to the main line of the picture, distance from the plane of the picture. Depending on the composition you have created, you can choose the position of the point of view (height of the point of view and distance). The point of view distance is chosen equal to one size of the composition. The height of the point of view is chosen to be either slightly lower or slightly higher than the height of the tallest object.

The individual task determines the shape of the objects, their size, the angle of rotation to the picture plane, and the distance from the picture plane. It is required to construct a perspective composition of faceted bodies, one of which is located frontally in relation to the picture plane, the other with a given angle of rotation to the picture, and one body of rotation.

When making a perspective image of a composition of geometric bodies, it makes sense to carry out preparatory work - to build a plan for the future composition. You can simply draw this plan or, by cutting out the contours of the plans of geometric bodies from paper and moving them along the plane, you can choose the best compositional solution, as well as determine the position of objects on the object plane and the distance between them. This will determine the overall overall size of the composition, which will determine the position of the height of the point of view, and the distance (the distance from the observer to the picture).

An example of SHEET 1 - a perspective image of a composition of geometric bodies is shown on ( rice. 91)

Interior perspective

It's called the interior internal view the premises as a whole or its individual parts. In the practice of building interiors, various ways of depicting interiors are known, depending on the task that the artist sets for himself. This manual discusses one of the ways to build an interior using perspective scales. Depending on the location of the walls of the room relative to the painting, the image of the interior can be frontal or angular. If one of the walls of the room is located parallel to the picture, then such an image is called a frontal perspective of the interior. If the walls of the room are at an angle to the picture plane, then such an image is called an angular perspective of the interior.

Very often in the world of artists there are paintings that are significantly different from oil and pastel canvases. They are more reminiscent of drawings, patterns, sketches and are completely incomprehensible to the average viewer. Now we will talk about compositions from geometric shapes, let’s discuss what they are, what load they carry, and why they generally occupy such an honorable place in the art of drawing and painting.

Simple compositions

Every master of the brush who started his journey with art school, will answer you that precise lines and their combinations are the first thing they teach there. This is how our vision and brain work, that if we initially learn to harmoniously combine simple shapes, then in the future draw complex paintings it will be easier. Compositions of geometric shapes allow us to feel the balance of the picture, visually determine its center, calculate the incidence of light, and determine the properties of its components.

It is worth noting that, despite the clarity and directness of such images, they are drawn entirely by hand, without rulers or other auxiliary objects. The parameters of the figures are measured using proportions, which can be located in two dimensions (a flat picture), or can go into perspective, to a single vanishing point of all lines.

Beginning artists draw compositions from geometric shapes in two dimensions. For similar paintings one of the sides is selected - plan or facade. In the first case, all the figures are depicted in a “top view”, that is, the cone and cylinder become a circle, the prism takes on the shape of its base. If figures are depicted in a façade, one of their sides is shown, most often the front. In the picture we see triangles, squares, parallelograms, etc.

3D paintings

In order to develop a sense of perspective, artists learn to depict compositions from three-dimensional geometric shapes that go into perspective. Such an image is considered three-dimensional, and in order to transfer it to paper, you need to clearly imagine everything. Similar drawing techniques are relevant in construction and architectural universities; they are used as exercises. However, students often make real ones out of these “picturesque sketches” by drawing incredible inset figures, dissecting compositions with planes and half-planes, and depicting pictures in cross-section.

In general, we can say that clarity and linearity are the main properties that any composition of geometric shapes has. At the same time, a drawing can be static or dynamic - it depends on the type of figures depicted and their location. If the picture contains mainly cones, triangular prisms, and balls, then it seems to be “flying” - this is definitely dynamic. Cylinders, squares, tetrahedral prisms are static.

Examples in painting

Geometric shapes have found their place in painting, along with romanticism and other trends. A striking example to this is the artist Juan Gris and his most famous painting“Man in a Cafe”, which, like a mosaic, consists of triangles, squares and circles. One more abstract composition from geometric figures - canvas “Pierrot”, artist B. Kubisht. Bright, clear and very unique picture.

MBOUDO Irkutsk CDT

Methodical manual

Drawing of geometric bodies

Additional education teacher

Kuznetsova Larisa Ivanovna

Irkutsk 2016

Explanatory note

This manual “Drawing of Geometric Solids” is intended for teachers working with children school age. From 7 to 17 years. Can be used both when working in additional education, and in the drawing course at school. The manual is compiled on the basis of the author's teaching aid"Drawing of geometric bodies" intended for first-year students of the specialty Arts and Crafts and Folk Crafts and Design (not published).

Drawing of geometric bodies is introductory material when teaching drawing. The introduction reveals the terms and concepts used in drawing, the concepts of perspective, and the order of drawing work. Using the material presented, you can study the required material, teach children, analyze them practical work. Illustrations can be used both for your own deeper understanding of the topic, and in the lesson as visual material.

The purpose of teaching drawing from life is to instill in children the basics of visual literacy, teaching realistic image nature, i.e. understanding and depicting a three-dimensional form on the plane of a sheet. The main form of training is drawing from a still nature. It teaches how to correctly convey visible objects, their features, properties, and gives children the necessary theoretical knowledge and practical skills.

Objectives of learning drawing from life:

Instill the skills of consistent work on a drawing according to the principle: from general to specific

Introduce the basics of observational, i.e. visual perspective, the concept of light and shadow relationships

Develop technical drawing skills.

In drawing classes, work is carried out to develop a set of qualities necessary for an artist:

- “position of the eye”

Development of “steady hand”

The ability to “see completely”

The ability to observe and remember what you see

The sharpness and accuracy of the eye gauge, etc.

This manual examines in detail one of the first topics of drawing from life - “Drawing of geometric bodies”, allowing you to study in detail the shape, proportions, structural structure, spatial relationships, perspective reductions of geometric bodies and the transfer of their volume using light-and-shadow relationships. Are being considered learning objectives– layout on a sheet of paper; construction of objects, transfer of proportions; from end-to-end drawing to the transmission of volume in tone, the shape of objects to reveal light, penumbra, shadow, reflex, glare, and a complete tonal solution.

Introduction

Drawing from life

Drawing is not only an independent form of fine art, but also the basis for painting, engraving, posters, arts and crafts and other arts. With the help of a drawing, the first thought of the future work is fixed.

The laws and rules of drawing are learned as a result of a conscious attitude to working from life. Every touch of pencil to paper must be thought out and justified by a feeling and understanding of the real form.

Training drawing should give, perhaps, a more complete idea of ​​nature, its form, plasticity, proportions and structure. It should be considered, first of all, as a cognitive moment in learning. In addition, it is necessary to know the characteristics of our visual perception. 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 as acute or obtuse, a circle sometimes looks like an ellipse; a pencil is larger than a house, and so on.

Perspective not only explains the mentioned optical phenomena, but also equips the painter with techniques for spatially depicting objects in all rotations, positions, and also in various degrees distance 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 appearance, the external outlines of the object.

Fine art mainly deals with three-dimensional form. Consequently, when drawing, one should be guided by the volumetric form, feel it, and 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, you cannot depict only its visible sides, without taking into account the sides hidden from view. Without imagining them, it is impossible to either build or draw a given cube. Without a sense of the entire form as a whole, the depicted objects will appear flat.

For better understanding forms, before starting to draw, it is necessary to consider the nature from various angles. The painter is advised to observe the form with various points, but draw with 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 life, which is more complex in its design.

The design, or structure, of an object means the relative arrangement and connection of its parts. The concept of “design” is applicable to all objects created by nature and human hands, starting with the simplest household items and ending complex shapes. The drawer must be able to find patterns in the structure of objects and understand their shape.

This ability develops gradually in the process of drawing from life. The study of geometric bodies and objects close to them in their form, and then objects that are more complex in their structure, obliges those who draw to be conscious about drawing, to identify the nature of the design of the depicted nature. So, a lid seems to consist of a spherical and cylindrical neck, a funnel is a truncated cone, etc.

Line

A line, or a line drawn on the surface of a sheet, is one of the main elements of a drawing. Depending on the purpose, it may have a different character.

It can be flat and monotonous. In this form, it mainly has an auxiliary purpose (this is placing a drawing on a sheet of paper, sketching the general outline of nature, indicating proportions, etc.).

The line can also have a spatial character, which the drawer masters as he studies the form under lighting and environmental conditions. The essence and meaning of a spatial line is most easily understood by observing the master’s pencil as he works: the line either strengthens or weakens or disappears completely, merging with environment; then it appears again and sounds with all the power of a pencil.

Beginning draftsmen, not understanding that the line in the drawing is the result difficult work above the form, they usually resort to a flat and uniform line. Such a line, which outlines the edges of figures, stones and trees with equal indifference, conveys neither form, nor light, nor space. Having absolutely no understanding of the issues of spatial drawing, such draftsmen pay attention, first of all, to the external outlines of an object, trying to mechanically copy it in order to then fill the contour with random spots of light and shadow.

But the flat line in art has its purpose. It is used in decorative paintings, 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 convey the image in a general way.

The deep difference between plane and spatial lines must be learned from the very beginning, so that in the future there will be no confusion of these various elements drawing.

Beginning draftsmen have another characteristic feature of drawing lines. They put too much pressure on the pencil. When the teacher demonstrates light line drawing techniques with their hand, they trace the lines with increased pressure. It is necessary to wean from this from the very first days bad habit. The requirement to draw with light, “airy” lines can be explained by the fact that at the beginning of the drawing we inevitably change or move something. And by erasing lines drawn with strong pressure, we spoil the paper. And, more often than not, a noticeable mark remains. The drawing looks untidy.

If you first draw with light lines, in the process further work It is possible to give them a spatial character, now strengthening, now weakening.

Proportions

A sense of proportion is one of the main elements in the drawing process. Maintaining proportions is important not only in drawing from life, 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 drawing or parts of the depicted object in relation to each other. Violation of proportions is unacceptable. The study of proportions is given great value. It is necessary to help the artist understand the mistake he has made or warn against it.

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

If you divide a sheet into two equal halves, the bottom 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 is made larger in the typographic font. This is the case with the number 8. This phenomenon is well known to architects; it is also necessary in the work of an artist.

Since ancient times, great importance has been attached to instilling in the artist a sense of proportion and the ability to accurately measure quantities by eye. Leonardo da Vinci paid a lot of attention to this issue. He recommended games and entertainment that he invented: for example, he advised sticking a cane into the ground and, at a given distance, try to determine how many times the size of the cane fits within this distance.

Perspective

The Renaissance was the first to create a mathematically rigorous teaching about the methods of transmitting space. Linear perspective (from Lat. Rers ri ser e “I see through”“I penetrate with my gaze”) - an exact science that teaches how to depict objects on a plane surrounding reality so that the impression is created as in nature. All construction lines are directed to the central vanishing point, corresponding to the viewer’s location. The shortening of the lines is determined depending on the distance. This discovery made it possible to build in three-dimensional space complex compositions. True, retina human eye concave, and straight lines do not appear to be drawn on a ruler. Italian artists They didn’t know this, so sometimes their work resembles a drawing.

Square perspective

a – frontal position, b – at a random angle. P – central vanishing point.

Lines receding into the depth of the drawing appear to converge at a vanishing point. Vanishing points are located 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 lateral vanishing points

Circle perspective

The upper oval is above the horizon line. For circles lying below the horizon line, we see their upper surface. The lower the circle, the wider it seems to us.

Already in the first tasks of drawing geometric bodies, children have to construct the perspective of rectangular objects and bodies of rotation - cylinders, cones.

F 1 and F 2 – lateral vanishing points lying on the horizon line.

Perspective of a cube and parallelepiped.

P is the vanishing point lying on the horizon line.

Chiaroscuro. Tone. Tonal relationships

The visible shape of an object is determined by its illumination, which is a necessary factor not only for the perception of the object, but also for its reproduction in the drawing. Light, spreading across the form, depending on the nature of its relief, has various shades- from lightest to darkest.

This is how the concept of chiaroscuro arises.

Chiaroscuro presupposes a specific light source and predominantly the same light color of the illuminated object.

Examining the illuminated cube, we notice that its plane facing the light source will be the lightest, called in the figure light; opposite plane - shadow; halftone we should call 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; glare– a small part of the surface in the light, completely reflecting the strength of the light source (observed mainly on curved surfaces), and finally, falling shadow.

In order of decreasing light intensity, all light shades can be conventionally arranged in the following sequence, starting with the lightest: highlight, light, halftone, reflex, own shadow, falling 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 is faceted, then even with a minimal difference in the aperture ratio of the surfaces, their boundaries will be definite (see illustration of a cube).

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 talked about chiaroscuro of equally colored objects. The means of this chiaroscuro were limited to the second half of the 19th century century in the transfer of illuminated plaster casts and nude models.

At the end XIX and early XX centuries, during the period of development of a deeper understanding of color, painterly demands began to be placed on drawing.

Indeed, all the colorful diversity of nature, especially festive elegant costumes, diffused lighting, excluding clear chiaroscuro, the rendering of the environment - all this puts before the draftsman a number of tasks, as if of a picturesque nature, the solution of which is impossible with the help of chiaroscuro alone.

Therefore, the pictorial term entered into 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 seems lighter than burgundy, brown seems darker than blue, etc.

In a drawing it is impossible to “fully” convey the brightness of the flame and deep shadows on black velvet, since the tonal differences between pencil and paper are much smaller. But the artist must convey all the various tonal relationships using modest means of drawing. To do this, take the darkest thing in the depicted object or still life in full force pencil, and the paper remains the lightest. He places all other shadow gradations in tonal relationships between these extremes.

Drawers need to practice developing the ability to subtly distinguish gradations of lightness in full-scale productions. You need to learn to pick up small tonal differences. Having determined where there will be one or two lightest places and one or two darkest places, we must take into account visual possibilities materials.

When completing training assignments, you must comply proportional dependence between the aperture ratio of several places in nature and the corresponding several parts of the drawing. At the same time, you need to remember 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 relationships. In the process of drawing, you need to compare 2 - 3 areas in terms of lightness in nature with the corresponding places in the image. After applying the desired tones, it is recommended to check.

Drawing Sequence

Modern technique drawing involves the 3 most general stages of working on a drawing: 1) compositional placement of the image on the plane of a sheet of paper and definition general forms; 2) plastic modeling of the form with chiaroscuro and detailed characterization of nature; 3) summing up. In addition, each drawing, depending on the tasks and duration, may have more or less general stages, and each stage may include smaller drawing stages.

Let's take a closer look at these stages of working on a drawing.

1). The work begins with the compositional placement of the image on a sheet of paper. You need to examine the nature from all sides and determine from which point of view it is more effective to place the image on the plane. The painter must familiarize himself with the nature and mark it characteristic features, understand its structure. The image is outlined with light strokes.

When starting a drawing, first of all, they determine the ratio of the height and width of the model, after which they proceed to determine 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 disrupted.

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 basic, generalized nature of the large form is revealed. If this is a group of objects, you need to equate them to a single figure - generalize.

Having completed the compositional placement of the image on a sheet of paper, the basic proportions are established. In order not to be mistaken in proportions, you should first determine the ratio of large quantities, and then select the smallest from them. The teacher’s task is to teach how to separate the important 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 general spot, and the details disappear.

2). The second stage is plastic modeling of the shape in tone and detailed elaboration of the drawing. This is the main and longest stage of work. Here, knowledge from the field of perspective and the rules of cut-off modeling are applied.

When drawing, it is necessary to clearly imagine the spatial arrangement of objects and the three-dimensionality of their structural structure, since otherwise the image will be flat.

While working on a perspective construction of a drawing, it is recommended to regularly check by comparing the abbreviations of the surfaces of volumetric forms, comparing them with the verticals and horizontals, which are mentally drawn through characteristic points.

After choosing a point of view in the drawing, a horizon line is drawn, which is at the eye level of the person drawing. You can mark the horizon line at any height of the sheet. This depends on the inclusion in the composition of objects or parts thereof that are located above or below the eyes of the painter. For objects located below the horizon, their upper surfaces are depicted in the figure, and for objects placed above the horizon, their lower surfaces are visible.

When you need to draw a cube or other object with horizontal edges standing on a horizontal plane, which is visible at an angle, then both vanishing points of its faces are located on the sides of the central vanishing point. If the sides of the cube are visible in the same perspective cuts, then their upper and lower edges are directed outside the picture to the lateral vanishing points. When the cube is in a frontal position, located at the horizon level, only one side of it is visible, which has the shape of a square. Then the ribs receding into the depth are directed to the central vanishing point.

When we see 2 sides of a horizontally lying square in a frontal position, then the other 2 are directed to the central vanishing point. The square pattern 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 lateral vanishing points.

In perspective contractions, circles look like ellipses. This is how bodies of rotation are depicted - a cylinder, a cone. The higher or lower the horizontal circle is from the horizon line, 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 increasingly shorter as they approach the horizon.

On the horizon line, both squares and circles look like one line.

The lines in the drawing depict the shape of the object. The tone in the drawing conveys light and shadows. Chiaroscuro helps to reveal the volume of an object. By constructing an image, for example 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 ball remains unchanged when rotated. It makes it difficult analytical work novice draftsman. Instead of the volume of a ball, for example, he draws a flat circle, which he then shades from contour line. Light and shadow relationships are given as random spots - and the ball appears to be just a dirty 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 slightly 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 halftone in the light.

When drawing a group setting of geometric bodies located at different distances from a light source incident on the side, one should keep 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 distance of the object from the light source. Considering this law when placing light and shadow, we should not forget the fact that close to the light source the contrasts of light and shadow intensify, and with distance they weaken.

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

3). The third stage is summing up. This is the last and most important stage of working on the drawing. At this stage, we summarize the work done: we check the general condition of the drawing, subordinating the details to the whole, and clarify the drawing in tone. It is necessary to subordinate lights and shadows, highlights, reflections and halftones to the general tone - we must strive to bring to real sound and completion the 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 advisable to return again to a fresh, original perception.

Thus, at the beginning of work, when the draftsman quickly outlines on a sheet of paper general view nature, he 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 a form is quite difficult for a beginning draftsman, because the details of the form attract his attention too much. Individual, insignificant details of an object observed by the draftsman often obscure the 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 defining the generalized parts of an object 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 for junior schoolchildren compositions from frames of geometric bodies. It is recommended to first draw the frame of one cube, one parallelepiped or cone. Later - a composition of two geometric bodies of simple shape. 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 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) construction of frames of geometric bodies; 3) creating the effect of 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 determining the general nature of the form. Starting the drawing, determine the ratio of height and width general composition all geometric bodies in general. After which they move on to establishing the sizes 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 disrupted. The scale of the objects depicted in the drawing is also determined in advance, and not during the work. When drawing in parts, in most cases the nature either does not fit on the sheet, or turns out to be shifted up, down or to the side.

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

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 level of the drawer’s eyes. The lower it is, the wider it appears. In accordance with this, all the horizontal edges of geometric bodies and the circles of bodies of rotation look more or less wide to the painter.

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

Perspective of a parallelepiped at a random angle.

Construction of a body of rotation - a cone.

All geometric bodies are constructed in this way.

3) The third and final stage is creating the effect of depth of space using different line thicknesses. The drawer sums up the work done: checks the proportions of geometric bodies, compares their sizes, checks the general condition 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 plaster cube and a ball on one sheet. You can make a drawing on two sheets. For tasks involving cut-off modeling, illumination by a closely located lamp, spotlight, etc. is highly desirable. on one side (usually the window side).

Cube

1). The first stage is the compositional placement of the image on the plane of a sheet of paper. The plaster cube and ball are drawn sequentially. Both are illuminated with directional light. The upper half of the sheet of paper (A3 format) is reserved for the cube, the lower half for the ball.

The image of the cube is composed together with the falling shadow in the center of the upper half of the sheet. The scale is chosen so that the image is neither too large nor too small.

2). The second stage is building a cube.

It is necessary to determine the location of the horizontal plane on which the cube stands and the horizontal edges relative to eye level, their width. How is the cube positioned - frontally or at an angle? If viewed from the front, the cube has 1 vanishing point at the eye level of the drawer - in the center of the cube. But more often the edges are located at a random angle relative to the person drawing. Horizontal lines receding at an angle to the horizon converge atlateral vanishing points located on the horizon line.

Building a cube

The drawer must find out which of the side faces of the cube seems wider to him - on this face, the horizontal lines are directed towards the vanishing point of a more hollow one, and the vanishing point itself is located further from the depicted object.

By constructing a cube according to the rules of perspective, we thereby prepared the boundaries for light and shadows. Examining an illuminated cube, we notice that its plane facing the light source will be the brightest, called light; the opposite plane is a shadow; halftone refers to planes that are at angles to the light source and therefore do not fully reflect it; reflex - reflected light falling on the shadow sides. The falling shadow, the contour of which is constructed according to the rules of perspective, is darker than all the surfaces of the cube.

Black and white cube modeling

You can leave the surfaces of the cube or the sheet of paper on which it stands white, illuminated directly, bright light. The remaining surfaces need to be shaded with light, transparent shading, gradually intensifying it on the light separation lines (edges of the cube where the illuminated and shadow edges meet). In order of decreasing light intensity, all light shades can be conventionally arranged in the following sequence, starting with the lightest: highlight, light, halftone, reflex, own shadow, falling shadow.

To summarize, we check the general condition of the drawing, clarifying the drawing in tone. It is necessary to subordinate lights and shadows, highlights, reflexes 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 lower half of the sheet of paper. The scale is chosen so that the image is neither too large nor too small.

Construction of the ball

2). The light and shadow modeling of a ball 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, which carries the reflex, but slightly moved 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 halftone in the light. Close to the light source, the contrasts of light and shadow intensify, and 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 process of generalization begins: we check the general condition of the drawing, refining the drawing in tone. Trying again to return to the clarity, integrity and freshness of the first perception.

Topic 3. Drawing a still life from plaster

geometric bodies (black and white modeling).

Note: This manual describes the image of a complex composition of plaster geometric bodies. If the training program is designed for several years, it is better to postpone the image of such a composition for subsequent years. It is recommended to first depict the composition of two geometric bodies of simple shape. Later you can move on to a more complex composition. For a task on cut-off modeling, illumination by a closely located lamp, spotlight, etc. is highly desirable. on one side (usually the window side).

3 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) construction of geometric bodies; 3) modeling of forms with tone.

1). The first stage is the compositional placement of images of geometric bodies on the plane of an A3 sheet of paper. Starting the drawing, determine the ratio of the height and width of the overall composition of all geometric bodies as a whole. After which they move on to establishing the sizes 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 basic proportions are established. In order not to make mistakes in proportions, you should first determine the ratio of large quantities, 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 level of the drawer’s eyes. The lower it is, the wider it appears. In accordance with this, all the horizontal edges of geometric bodies and the circles of bodies of rotation look more or less wide to the painter.

The composition consists of prisms, pyramids and bodies of rotation - a cylinder, a cone, a ball. For prisms, it is necessary to find out how they are located relative to the drawer - frontally or at an angle? A body located frontally has 1 vanishing point - in the center of the object. But more often, geometric bodies are located at a random angle relative to the person drawing. Horizontal lines receding at an angle to the horizon line converge at lateral pointsright away located on the horizon line. In bodies of revolution, horizontal and vertical axial lines are drawn, and distances equal to the radius of the depicted circle are laid out on them.

Geometric bodies can not only stand or lie on the horizontal plane of the table, but also be at a random angle in relation 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 direction of the body’s inclination, the other on a line perpendicular to it, belonging to the plane of the base of this geometric body.

3). The third stage is modeling the shape 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 bodies facing the light source will be the lightest, called light; opposite planes - shadow; halftone refers to planes that are at angles to the light source and therefore do not fully reflect it; reflex - reflected light falling on the shadow sides; and, finally, a falling shadow, the contour of which is constructed according to the rules of perspective.

The surfaces of the prisms, pyramids, or sheets of paper on which they stand, illuminated by direct, bright light, can be left white. The remaining surfaces need to be shaded with light, transparent shading, gradually intensifying it on the light separation lines (edges of geometric bodies where the illuminated and shadow edges meet). In order of decreasing light intensity, all light shades can be conventionally arranged in the following sequence, starting with the lightest: highlight, light, halftone, reflex, own shadow, falling shadow.

In a ball, light and shadow have gradual transitions, and the deepest shadow will not be on the edge of the shadow side, which carries the reflex, but slightly moved 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 halftone in the light. Close to the light source, the contrasts of light and shadow intensify, and as they move away, they weaken.

White is left with only a highlight on the ball. The remaining surfaces are covered with light and transparent shading, applying strokes to the shape of the ball and the horizontal surface on which it lies. The tone builds up gradually.

As they move away from the light source, the illuminated surfaces of bodies lose their luminosity. Close to the light source, the contrasts of light and shadow intensify, and as they move away, they weaken.

4). When all the details are drawn and the drawing is modeled in tone, the process of generalization begins: we check the general condition of the drawing, clarifying the drawing in tone.

It is necessary to subordinate lights and shadows, highlights, reflexes 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. “Iskusstvo” 1968

Beda G.V. “Fundamentals of visual literacy” M. “Enlightenment” 1988

“School of Fine Arts” 1-2-3, “Fine Arts” 1986

"Drawing Basics", " Brief dictionary artistic terms" - M. "Enlightenment", "Title", 1996

Additional:

Vinogradova G. “Drawing lessons from life” - 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"Halo" 1997

Avsisyan O. A. “Nature and drawing from idea” - M., 19885

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

Applications

Topic 1. Construction of frames of geometric bodies

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

Topic 3. Drawing 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 gypsum geometric bodies: cube, ball (black and white modeling) __________________________________________ 14

Topic 3. Drawing a still life from gypsum geometric bodies (black and white modeling) __________________________________________ 17

Applications _____________________________________________________ 21

Subject: Patterns of contrast and nuance as a means of organizing elements into a single stable system (clause 1.2.8).

Sequence of task execution:

The sheet is roughly divided into two parts. In the first part of the sheet:

1. Create a composition in black and white by overlaying simple elements (geometric shapes) on top of each other using contrast in size and shape.

Rice. 29. Organizing a plane using similar elements

Rice. 30. Organizing a plane using similar elements

Rice. 31. Regularities of meter and rhythm as a means of organizing elements into a single stable system

Rice. 32. Regularities of meter and rhythm as a means of organizing elements into a single stable system

Rice. 33. Regularities of meter and rhythm as a means of organizing elements into a single stable system

2. Create a composition in black and white by overlaying elements on top of each other using nuanced relationships in size and shape.

On the second part of the sheet: create a figurative composition using the appliqué method using contrast or nuance. The composition must have a clearly defined character. Examples of this work are shown in (Fig. 34, 35, 36, 37).

Typical mistakes:

contrast or nuance is not expressed consistently enough. The composition is borderline in nature;

there is no balance of forms.

Materials: Sheet format A-3, colored paper, PVA glue, ink, rapidograph, scissors.

Rice. 34. Organizing the plane using contrasting and nuanced relationships

Rice. 35. Organizing the plane using contrasting and nuanced relationships

Rice. 36. Organizing the plane using contrasting and nuanced relationships

Rice. 37. Organizing the plane using contrasting and nuanced relationships

Any drawing begins with the compositional placement of images on a sheet of paper. The overall impression of the drawing largely depends on how this or that image is composed. It is necessary to study the principle of arrangement of objects on a plane.

Word composition translated from Latin, literally means composing, linking, connecting parts. The construction of a work of art, determined by its content, character and purpose and largely determining its perception. Composition is the most important organizing moment of an artistic form, giving the work unity and integrity, subordinating its elements to each other and to the whole. In the process of creating a decorative composition, the placement and distribution of visual elements occurs according to a certain pattern in a logical sequence laid down by the author. Visual media 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 the sheet: highlighting the main object, filling the entire plane of the sheet, balancing the right and left edges, the presence of a general plan or idea. Before drawing anything, the artist must come up with it.

1st tip:

To create an emotional and figurative composition, you need to observe and see interesting events, characters, motives and different states of nature in the life around you. All this makes it possible to build interesting and original compositions.

2nd tip:

When choosing a composition format, you need to consider that:

An elongated format will make the image slender and sublime;

The horizontal format conveys a sense of panoramic, wide and endless spaces;

The square format is best used to create balanced, static compositions;

The oval format is used to depict a portrait of a person, since its configuration easily correlates with the oval of the face or the contour of the chest image;

In a round format, a flower or plant arrangement is well arranged.

3rd tip:

Avoid the following mistakes:

Do not place anything on the very edge of the sheet, the exception is an object starting from the edge of the sheet and made in fragments;

Objects should not touch the side and top edges of the sheet;

Don't draw everything too small;

Don't make items too large.

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 further 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 stain and color. Work in detail on the objects in the foreground 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, and becomes colder and more transparent. Paint distant plans in bluish, violet, blue, gray, silver colors.

6th tip:

Getting started last stage work – generalization, check:

Is the center of the composition highlighted by color or tone?

Has the first plan been worked out in detail?

Is the foreground highlighted in color?

Does anything break out from the overall design 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 properly constructed composition cannot cause doubts or feelings of uncertainty. It should have a clarity of relationships and proportions that soothes the eye.