Composition of 5 geometric shapes. Building perspective composition of geometric bodies

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 transmission open space, movement.

golden section rule

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

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

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

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

There is nothing more harmonious than nature itself. Therefore, the understanding of harmony comes to us from it. And in nature great amount visual images obeys two rules: symmetry And golden section rule.

What is symmetry, I think you know. What is the golden ratio?

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.

Very often in the world of artists there are paintings that are largely different from oil and pastel paintings. They are more like drawings, patterns, sketches and are completely incomprehensible to a simple viewer. Now we will talk about compositions of geometric shapes, 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 brush master who started his journey with art school, will answer you that the exact lines, and their combinations, are the first thing they teach there. Our vision and brain are arranged in such a way that if we initially learn to harmoniously combine simple forms with each other, then in the future to draw complex paintings will be simpler. 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 exclusively by hand, without rulers and other auxiliary items. The parameters of figures are measured using proportions, which can be located in a two-dimensional dimension (a flat picture), or they can go into perspective, to a single vanishing point of all lines.

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

3D paintings

In order to develop a sense of perspective, artists learn to depict compositions from three-dimensional geometric figures 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 turn these “picturesque studies” into real ones by drawing incredible insets of figures, dissecting compositions with planes and half-planes, depicting pictures in section.

In general, we can say that clarity, 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 on their location. If the picture is dominated by cones, trihedral prisms, balls, then it seems to “fly” - this is definitely dynamics. Cylinders, squares, tetrahedral prisms are static.

Examples in painting

Geometric forms have found their place in painting, along with romanticism and other trends. A striking example of this is the artist Juan Gris and his most famous painting"A man in a cafe", which, like a mosaic, consists of triangles, squares and circles. Another one abstract composition from geometric figures - the canvas "Pierrot", artist B. Kubist. Bright, clear and very distinctive picture.

Creativity & Hobbies

Learn the basics of architectural drawing

The cornerstone in architectural education is the knowledge of the fundamentals of architectural drawing. Even though I didn't get into architecture this year, I didn't give up the idea of ​​becoming an architect and I will slowly but surely move towards my goal.

So, in front of me is the book "Drawing by Representation. From Geometry to Architecture". WITH today I will begin to study this book thoughtfully and diligently, practicing my drawing every day. I commit to spend 1.5-2 hours a day drawing from a book (exceptions: unforeseen circumstances, days off, travel and situations where I can't use the tools and tutorial) and show the community my work. I will not rush much, and I will set the deadlines approximately, with a large margin. The deadline is March 6 next year.

Goal Accomplishment Criteria

The book has been studied: all tasks have been completed, photos of the work have been posted on the site.

personal resources

Time every day, paper, tools, book.

1. Part 1. Initial exercises

   Section 1 Drawing Straight Lines

   • Straight line pattern
   • Drawing parallel straight lines
   • Drawing straight lines "from point to point"
   • Division of straight lines into equal segments
   • Division of angles into equal parts
   • Line drawing

   Section 2 Drawing curved lines

   • curved line pattern
   • Draw curved lines by anchor points
   • Ornament pattern based on a circle
   • Ellipse drawing
   • Ellipse pattern

2. Part 2. Perspective of a square and a circle

   • Perspective diagram
   • Drawing a square in perspective
   • Drawing of a square circumscribed around a circle in perspective

3. Perspective of simple geometric solids

   Section 5. Perspective drawing of a cube and a tetrahedral prism

   • Perspective cube drawing
   • Drawing of nine cubes
   • Linear-constructive drawing of a composition of cubes according to the plan and facade in frontal and angular perspectives
   • Linear-constructive drawing of a composition of cubes in perspective
   • Linear-constructive drawing of a composition of cubes and tetrahedral prisms in perspective

   Section 6. Pyramid and Hexagon Perspective

   • Linear-constructive drawing of a pyramid
   • Linear-constructive drawing of a hexagonal prism

   Section 7. Cylinder, Cone, and Ball Perspective

   • Linear-constructive drawing of a cylinder
   • Linear-constructive drawing of a cone
   • Section of a cylinder and a cone by planes parallel to the bases
   • Section of a cone by parallel planes perpendicular to its base
   • Drawing of cylinders of different diameters stacked on top of each other
   • Linear-constructive drawing of the ball
   • Section of a ball by parallel planes
   • Drawing of a ball standing on a cube
   • Drawing of a cube circumscribed inside a sphere

4. Part 4. Tonal drawing

   Section 8. Tone. Initial exercises

   • Hatching tonal spots
   • Hatching flat figures
   • Tonal scale made in hatching technique
   • Shading flat figures
   • Hatching in the technique of "wide stroke"
   • Planar composition of polygons

   Section 9. Black and white drawing of simple geometric bodies

   • Tonal drawing of a cube
   • Tonal drawing of a tetrahedral prism
   • Tonal drawingpyramid
   • Tonal drawing of a cylinder
   • Tonal drawing of a cone
   • Tonal ball pattern
   • Tonal drawing of a stepped cone
   • Tonal pattern of illuminated surfaces
   • Tonal pattern of shadow surfaces
   • Tonal drawing of a composition of four cubes

5. Part 5. Inserts of geometric bodies

   Section 10

   • Inset cube and tetrahedral prism
   • Inset cube and pyramid
   • Inset cube and hexagonal prism
   • Cube and Cylinder Inset
   • Cube and Cone Inset
   • Insertion of a sphere and a cube according to given orthogonal projections
   • Cube and ball with a common center
   • Insertion of a sphere and a cube, when the cutting planes of the cube do not pass through the center of the sphere

   Section 11. Complex tie-ins.

   • Oblique section of a hexagonal prism
   • Inset of two hexagonal prisms
   • Oblique section of the pyramid
   • Inset pyramid and hexagonal prism
   • Inclined section of the cylinder
   • Cylinder and hexagonal prism insert
   • Pyramid and Cylinder Insert
   • Inclined section of a cone
   • Cone and hexagon insert
   • Inset Cone and Pyramid
   • Inclined section of the ball
   • Hexagonal prism and ball inset

6. Composition of simple geometric bodies

   Section 12. Composition of simple geometric bodies on entrance exams at the Moscow Architectural Institute

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

projections

Topic 2. Drawing a composition of geometric shapes by imagination

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

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

WORK EVALUATION CRITERIA

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

When evaluating work, the following is taken into account:

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

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

3. Tonal transmission of proportions.

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

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

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

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

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

P. Refinement of the composition

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

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

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

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

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

IV. Final study (Fig. 94)

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

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

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

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

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

"4H":.,. ■

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Rice. 91

68

Rice. 93

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

Rice. 95

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

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

Rice. 97. Examples of various compositional ideas

Rice. 101

Rice. 103

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

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

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

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

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

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

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

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

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

Imagine that you have a sheet plane in front of you, absolutely not filled with any image elements. In other words, a clean slate. How is it perceived by us? Naturally, the plane of the sheet does not carry any information, it is perceived by us as meaningless, empty, not organized. But! One has only to put on it any spot, or a line, a stroke, and this plane begins to come to life. This means that our pictorial elements, any - spot, line, stroke - enter into a spatial connection with it, forming some kind of semantic link. It's easier to say - the plane and any element on it begin to interact, conduct a dialogue with each other, and begin to "tell" us about something.

So we get the most primitive composition, which is even difficult to call such, but this is it.

Further. You and I have one universal tool given to us by nature, these are our eyes, our vision. So, our eye sees and perceives the world around us in proportions and proportions. What does it mean? Our vision is able to feel harmony, and what is not harmonious. Our eye is able to find the difference between the discrepancy between the sizes of individual parts and the whole, or vice versa, to see a complete correspondence. Vision is able to perceive combinations of colors that do not irritate the eye, or vice versa - they can be completely disharmonious. I will say more, our natural instinct from the very beginning, whether you like it or not, strives for a sense of harmony in everything. And subconsciously obliges by feeling to arrange objects and their parts so that not a single part of the composition is alien or disproportionate. You only need learn to listen to your feelings and understand how to achieve harmony, that is, to compose good composition. Any.

Go ahead. Let's take some shape, for example, a circle and try to place it in different places on the plane of the sheet. We can see, we can feel that in some cases it will take a more stable position, in others it will be unstable. The picture on the left: see how our vision works - it would seem that for a circle the most stable place is the coincidence of its center with the geometric center of the sheet plane (drawing diagonal lines from corner to corner of the sheet, we get the center of the sheet at the intersection of these lines). However, that's not all. 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 shape sheet plane. 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, 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, how to understand it: 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 obey. 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. Main element, dominant - more developed than secondary ones.

Compositional and geometric centers of the composition

Let's continue... This dominant, a conspicuous active element, is located at least not in the center of the sheet, but its weight and activity is supported by many secondary elements located diagonally further, opposite this dominant. If we draw another diagonal, then on both sides of it the "weight" of the composition will be conditionally the same. The composition is balanced both vertically and horizontally, and diagonally. Elements are used that differ in activity from the previous composition - they are more actively located and more active in shape. Although they are arranged elementarily, according to a conditional grid, and the structure of the composition is simple, but besides this, the composition has a dynamic balance, as it leads the viewer along a certain trajectory.

Note: the composition on the right was not at all created with the help of paints on paper, but I really liked it, and in fact, according to by and large, it doesn't change. It's also composition. We continue...

You say, where is the geometric center of the composition? I answer: the geometric center of the composition is where it should be. Initially, it may seem that it is located where the dominant is located. But the dominant is rather an accent, the plot of the composition, that is, the compositional center. However, we do not forget that there is also a hidden structure of the composition, the geometric center of which is located, as in the composition, on the left. The first glance the viewer turns to composition center, dominant, but after considering it, and further after reviewing the entire composition, your eye nevertheless stopped at geometric center, right? Check it out for yourself, follow your feelings. He found "calm" there, the most comfortable place. From time to time, he again examines the composition, paying attention to the dominant, but then again calms down in the geometric center. That is why such a balance is called dynamic, it introduces movement - visual attention is not scattered evenly throughout the composition, but follows a certain course that the artist created. Your eye will find movement in the compositional center, but will not be able to rest there. And just at successful construction composition, namely, the correct use of the geometric center, it is harmoniously visible from any turn. And the compositional center - from it the composition begins to conduct a dialogue with the viewer, this is the section of the composition that allows you to control the viewer's attention and direct him in the right direction.

Static composition and dynamic composition

Here we come to the following terms that we need to consider with you. These terms differ in meaning from static equilibrium and dynamic, meaning: you can balance any composition by nature 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 - the action only spins in the space that you use, full disclosure. In the compositions there is a move in a circle.

3. Organize several triangles and circles according to the principle of dynamic composition (asymmetric arrangement of figures on a plane), varying the color, lightness of the figures and the background.

4. Applying the principle of division composition elements, balance in a rectangular format several shapes of different configurations. According to this principle, perform a simple composition on an arbitrary topic.

5. From simple stylized motifs of natural forms, using the principle of division of elements, sketch an open composition. An open composition is a composition that can be developed further - in breadth and height.

6. Divide the plane of the sheet into a conditional structure according to sensation and compose a composition based on it: solution black and white.

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.

Dot - as one of the expressive means is widely used in many works of decorative and applied art. It helps to reveal the texture of the image, the transfer of conditional space.

The spot is used for the rhythmic organization of non-pictorial ornamental motifs. Spots of various configurations, organized into a certain composition, acquire artistic expressiveness and, emotionally influencing the viewer, cause him the appropriate mood.

Artists in their works often use as pictorial elements geometric figures: circle, square, triangle. Compositions from them can symbolize the movement of time, the rhythms of human life.

The rhythmic organization of ornamental motifs from non-pictorial elements (spots of abstract configuration, silhouettes of geometric figures), combined into compositional structures, becomes a means of artistic expression.

More composition tools

1. Subordination: in the first second, a person begins to perceive the composition as a silhouette image against a certain background: silhouette area, drawing contour line, 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. In size contrast, high is opposed to low, long - short, wide - narrow. With mass contrast, a visually heavy element of the composition is located close to the light one. With the contrast of the forms, "hard", angular forms are contrasted with "soft", rounded ones. With the contrast of light, light areas of the surface are contrasted with dark ones.

6. Rhythm is a certain ordering of single-character elements of a composition, created by repeating elements, their alternation, increase or decrease. The simplest pattern on the basis of which the composition is built is the repetition of elements and intervals between them, called modular rhythm or metrical repetition.

The metric series can be simple, consisting of one element of the form, repeating at regular intervals in space (a), or complex.

A complex metric series consists of groups of identical elements (c) or may include individual elements that differ from the main elements of the series in shape, size or color (b).

The combination of several metric series, combined into one composition, greatly enlivens the form. In general, the metric order expresses static, relative peace.

A certain direction can be given to the composition by creating a dynamic rhythm, which is based on the laws of geometric proportions by increasing (decreasing) the size of similar elements or on a regular change in the intervals between the same elements of a series (a - e). A more active rhythm is obtained by simultaneously changing the size of the elements and the intervals between them (e).
With an increase in the degree of rhythm, the compositional dynamics of the form intensifies in the direction of thickening the rhythmic series.

To create a rhythmic series, you can use a regular change in color intensity. Under conditions of metric repetition, the illusion of rhythm is created as a result of a gradual decrease or increase in the intensity of the color of an element. When the size of the elements changes, the color can enhance the rhythm, if 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 are used to bring out the active elements of the composition. Cool colors visually remove them. Color actively affects the human psyche, is able to cause a variety of feelings and experiences: to please and upset, invigorate and oppress. Color acts on a person regardless of his will, since we receive up to 90% of information through vision. Experimental studies show that the least eye fatigue occurs when observing a color belonging to the middle part of the spectrum (yellow-green region). The colors of this area 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. identical 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 a changing tonality, harmony can be achieved by combining the two main and intermediate colors(for example, yellow, green and mustard) or with a contrast in tone. 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 aids expressions - line, spot, dot

3. From objects freely placed in space, make a balanced still life composition, without resorting to perspective reductions of objects and spatial plans

8. Dismember the plane of a circle inscribed in a square (black and white solution), and make a rappoport composition from the dissected circles. You can do the same with other geometric shapes.

Artist and composition

Now we will not talk about how to compose a composition, but rather about the forces that impel us to create it. These forces are much stronger and more efficient, than you would thoroughly and spending many hours studying the technical aspects of its creation, but sparingly investing even a drop of your soul into the process. It is a strong motivation, an impelling force. You are an artist, regardless of what knowledge and skills you have and at what stage of development you are. Are you an artist, creative person. Before creating a composition, any, you hatch an idea, think, feel emotions, observe its creation even within yourself. Some of us dream about it, some of us day by day are under the influence of this magical process, sometimes it just prevents us from living like everyone else. ordinary people, because we create it from the very beginning, still within ourselves. Any composition, any creation is a sublimation of those sensations and experiences that accompany the artist and grow in him, in his mind. And then, one day, at one moment, you understand that here it is, creation, it can now be born into the world, and you finally understand what you must do. And the composition is born. Now nothing can stop your creative process. But by and large, the composition is the mood of the artist, thoughts, the very idea that he splashes onto the lifeless plane of a sheet or canvas, forcing them to LIVE their own, original life, unlike everyone else. And even if the artist is not very strong in studying the laws of drawing up a composition on a sheet, the creative power of creation is many times stronger, everything else will come with time. Don't be afraid to express your thoughts and feelings. Daring and simple, mysterious and evil, joyful and fantastic.... no one will tell about your thoughts better than you.