Construction of the capital. Drawing Ionic capitalia

The study of architecture has always been an integral part of preparation for artists. Using the example of individual elements, details, structures, disassembled into their component parts, a careful comprehension of the visual laws, concentratedly embodied in classical architecture, took place.

Drawing Doric capital - this is a key task in the drawing category geometric bodies.

This task is often included in exams, so applicants should pay attention to this Special attention and take the drawing seriously. The image of the capital is one of the most visual demonstrations of the real level of the applicant or student. Professional teacher will immediately determine how much the student has the skills of constructing geometric shapes and modeling techniques. The difficulty with the apparent simplicity of the Doric capital at first glance lies in ideal proportions and her relationships constituent elements.

Capital- this is the most visual symbol of the architectural order, the connecting link between the column and the beam floor. An element without which it is impossible to imagine the art of antiquity, with harmony of proportions and purity of forms.

Purposes of drawing capitals.

• Learn to build architectural forms.
• Learn to find the correct proportions and relationships of capital elements.
• Correctly arrange and place capitals on the sheet.

A capital is selected for drawing Doric order, as the main one, the very first of those created and which served as the basis for all subsequent types of capitals, such as Ionic, Corinthian, Tuscan. The Doric capital is the standard of proportions and architectural style, the best model for studying the construction and development of the eye.

Drawing a Doric capital.

For a more visual and complex perspective, it is better to depict the capital from below, that is, the horizon line with the vanishing point should be located below the main volume of the capital. Then all construction lines, rounded details, points of contact and transition of forms will be clearly visible. Depicting the capital from above is less interesting as a study: the abacus, a square element of the capital in plan, will block the most effective lines of construction. It is not recommended to place the Doric capital so that the horizon line would pass through the middle of the body of the capital, then the perspective distortion will not fully demonstrate the beauty and dynamics of the lines.

Over the course of many years teaching practice reinforced theoretical materials We have developed a system for drawing capitals and certain methods that will help to fairly accurately depict the capital. We tell students about the rules of shape formation and the principles of structural units, how one element affects another and how the location of an element depends on the other. Based primarily on figurative representation, which is described in detail in the article “Insets”, this set of rules will allow you to correctly build a capital, regardless of the perspective and angle of lighting. You can learn more about the system for drawing capitals on ours.

A high stand is selected for staging. Students can draw while sitting. The lighting is set from above and from the side so that the shadow from the abacus does not overlap the echinus following it (a semicircular element with a cross-section of a quarter of the shaft) and subsequent elements.

While working on the drawing, you should from time to time approach the cast of the capital and examine in detail the shape of the elements and their connection with adjacent structural parts.

Drawing capitals- this is a good test of what the student was able to learn and how he mastered the previous tasks of the drawing program. The capital is a kind of exam for the course of geometric subjects and the first large part of the program. Any inaccuracies and errors in construction are clearly visible in the capitals; the technique of mastering tone and modeling strokes is visible. Therefore, it is very important to carefully study and draw the capital.

All photographs presented in the article are the work of our talented students!

Basics of academic drawing. Lesson No. 17. Ionic capital.

A characteristic feature of the Ionic capital (Fig. 42) is the peculiar plastic processing of its sides: two sides have one type of processing, the other two have a different character.

The basic elements of the Doric capital, such as abaca, echinus and astragalus, also form the basis of the Ionic capital, but the abaca shelf in it seems to be extended and wrapped in spirals - volutes. The echinus, in the form of a quarter shaft, processed with ionics (see the lesson “Doric Capital”) is partially covered with curls of volutes, and the junction of the echinus with the curls of the volute is covered with petals (palmettes). The volute's spiral consists of three turns and approaches the center, the so-called eye, in the form of a small concave circle (Fig. 43, 44). On the side facade, the volute looks like a scroll, tied in the middle with a belt (or without it), called a balustra.

The trunk of a column in the Ionic order is usually processed with flutes, deeper than that of a Doric column and separated from each other by strips of the surface of the trunk (fusta), the so-called paths. The abaca cornice has a shelf supported by a heel.

The abacus itself with volutes is raised above the echinus and lies, as it were, on a raised platform with beveled edges. The echinus thus extends beyond the edges of the abacus on the front side, and is not located directly below it, since it has a larger diameter than the length of the abacus flange. This is also a feature of the construction of the Ionic capital in comparison with the construction of the Tuscan and Doric and, therefore, greater difficulty in drawing it.

The sequence of drawing an Ionic capital is not fundamentally different from the sequence of drawing a Tuscan one. Also, first, the main masses of the capital are outlined in the sheet relative to the central axis: the cylinder of the barrel and the abacus with volutes. Moreover, volutes can be generally represented as inscribed in cuboid, a flat box with a height equal height volute and, as it were, dressed on the stem of the capital (Fig. 45). Then, on the front side (long side of the box), the size of the volutes in width is outlined (it smaller size in height) and the distance between them (it is approximately one and a half times the width of the volute). After this, you need to find the height position of the echinus with the bolster and shelf underneath it and mark the height of the abacus wall.

Next, the spirals of the volutes are drawn into the rectangles reserved for the volutes, taking into account the perspective reduction for a given turn of the capital (Fig. 46, 47). It is important to remember that the scrolls (balustrades) on the side façade of the capital have the shape of a tubular cylinder and the thickness of the volute’s rim must be drawn as part of this cylinder in order to correctly draw the connections between its outer and inner contour (outline). In addition, it is important to correctly correlate the perspective contractions of the two cylinders into which the volute balustrades are inscribed.

And one more important point.

In order to correctly draw in perspective the part of the echinus with ionics visible between the volutes, it is necessary to outline its full shape (as in a Tuscan or Doric capital) relative to the axis of symmetry of the trunk and only then begin to divide the axes of the ionics. At the same time, it is important not to forget the following point: the dimensions in perspective of certain parts of the form (at a normal angle and 3 times the distance from it) remain approximately in the same proportions as they have when positioned frontally. In other words, if a part is smaller than the whole, then in perspective contraction it will always be smaller than it (Fig. 45, 48, 49, 50).

Materials from the works of T. S. Vetlinskaya and N. F. Markov were used.

Draw an Ionic capital with a pencil on a sheet of A4 or A3 paper.

The Ionic capital, which is more complex in shape, differs from the Doric in the richness of the surface by additional decorative elements - ionics and volutes. This actually complicates the task of depicting this kind decorated capitals, as decorative elements distract attention and prevent one from seeing its basic constructive essence, which is no different from the Doric. It consists of three main elements - the column trunk (cylinder), the abacus (thickened square slab) and the adjacent echinus (quarter shaft) (Fig. 1).

Rice.

To correctly depict an Ionic capital, it is necessary to understand the structural principles of the structure of decorative details in connection with the structural basis of the capital itself - the square of the abacus with the cylinder of the column. If we mentally remove the details, we will see the column trunk and the abacus with the adjacent quarter shaft. This technique gives a clear understanding of the basics of capital design. Additional details will be specified later. When depicting a capital on the plane of a sheet, you first need to build an abacus with a column trunk, and then attach a volute structure to them. Figure 1 shows the construction of an image of its constituent elements with their subsequent refinement.

Rice.

To begin with, it is useful to draw the ionic elements separately. At one time, similar ornaments were carved from a continuous longitudinal strip of marble, the profile of which was close to the quarter shaft. Ionica resembles an ovoid shape (ovoid) with a cut off top, framed by a stylized leaf and divided by arrows. At the base of the ornament there is a thin strip of beads, the profile of which is a roller. For the correct distribution of the ornament in the drawing, the entire visible part of the shaft should be evenly marked with transverse axes, taking into account the perspective and roundness of the shape, with some axes running along the arrows, others along the ionics. Then the contours of the details of the ornament are drawn, clarifying their proportions taking into account the perspective and bringing the drawing closer to the stage of black and white elaboration. At the same time, during drawing small parts ornament, significant distortions in the shape of the quarter shaft profile may be allowed, which should be noted. When constructing half of an Ionic capital (as well as when depicting half of a capital of the Doric order), it is important to first draw the contours of the whole form, and then make a symmetrical vertical section, leaving the necessary half for further work, and the auxiliary half for subsequent clarification of the main one.

The construction of images of the structural elements of the volute and its components are shown in Figures 1,2. When starting to draw architectural details from life, you need to work in the following sequence:

1. Constructive analysis of the form and its individual elements in interrelation. 2.Choice of point of view, taking into account the horizon line and placement of the image on the sheet. 3. Constructing the structure of an object, taking into account proportion, perspective and character. 4. Revealing the volumetric shape of an object using chiaroscuro. 5. Summing up and generalizing the picture.

Rice. Perspective construction images of capitals of the Corinthian order

Drawing capitals

The most valuable educational models for drawing are details of architecture - classical orders. "Order" is called architectural element post-beam system, brought into a certain constructive and artistic order. Literally translated, this term means "order".

Order systems that arose in ancient times and have received widespread development throughout world architectural practice, to this day attract the close attention of contemporaries. Thanks to their proportionality, artistic and constructive perfection, richness and variety of architectural forms, classical orders are the best models for studying and drawing, which allow you to study the logic of the constructive and artistic essence of these forms and improve your visual skills.

In the order system, an essential part is the rack - column. Between the column and the beam structure there is the main head part - the capital. Under the column, in its lower base, there is a plate called the base, which performs the function of distributing the main load on its surface. From a visual point of view greatest interest are caused by the upper and lower parts of the column - the capital and the base. The compositions of capitals of classical orders are quite diverse in style and form - from the simplest and smoothest to the most complex decorated, with various ornaments of plant and animal origin.

For successful execution educational assignment drawing architectural details will require competent knowledge of the previous educational material on the perspective construction of simple geometric figures - squares and circles.

Study and draw architectural details necessary from simple shapes, gradually moving on to complex ones. First, let's look at the design form of the order system of the capital of the Doric order.

The capital consists of three main parts (Fig. 87). Top part, abacus, is a thick square slab, which is crowned with a heel and a shelf. Under it there is an echinus, then there is a part transitional to the column, consisting of three belts or a neck, which mates with the trunk of the column. Just below there is a protruding roller with a shelf, called an astragalus, which also mates with the trunk of the column through a fillet. If you mentally imagine a capital without small elements: echinus with belts, astragalus with a shelf and without fillet relief, it is not difficult to determine what geometric shapes its base consists of. Of course, the shaft of the column consists of a cylinder, and the abacus consists of a thick square plate located symmetrically in the center on the upper base of the cylinder. When considering it separately additional elements one can see that the profile of the echinus is close to the quarter shaft, and the astragalus is a body formed by the movement of a ball in a circle at some distance from the surface of the cylinder, with a shelf adjacent to it from below.

The shapes of capitals, regardless of their variety and style, always have the correct base geometric shapes, more often related to bodies of rotation. Combinations of different surfaces form complex shapes, which is why drawing capitals in educational process are considered to be the most difficult tasks.

Work on the drawing of a capital should begin with the compositional placement of the image on a sheet of paper after a preliminary examination of nature from all sides in order to determine the most advantageous point of view for placing the image. The successful solution of the compositional problem largely depends on how expressively the point of view is chosen.

The construction of the image begins with general form. Considering that its basis is made up of bodies of rotation, you should first determine the general vertical axis of the capital, and then proceed to the perspective construction of the image. At the same time, it is very important to strictly monitor the proportional relationships of all parts and the whole.

When depicting classical orders, it is extremely important from the very beginning to maintain the basic proportional values ​​as accurately as possible. The correct ratio of the values ​​of its remaining elements will depend on how correctly the main dimensions of the capital are determined. In addition to the importance of maintaining proportions, it is equally important to be able to correctly construct the volumetric-spatial structure of the capital.

The construction of the capital structure can be started from the square base of the abacus or from the circle of the upper base of the quarter shaft. The main thing here is to correctly construct two connecting elements from a perspective perspective. But, as long-term practice shows, the vast majority of students encounter difficulties when fitting a circle into a square (an ellipse into a rhombus). It should be noted that when constructing a square in perspective, in order to then inscribe a circle (ellipse) into it, one must remember that regardless of the position of the corners of the slab relative to the point of view and its angles, the ellipse circle must always be constructed strictly in horizontal position taking into account future reductions. Moreover, the middle of each side of the square of the slab should touch the circle (ellipse). It is unacceptable to try to fit an ellipse image to an incorrectly constructed square. This will lead to significant distortion of both the elements themselves and the entire image.

Rice. 88 Perspective construction of the image of a capital of the Doric order

Students with such complications are advised to start by constructing an ellipse, and then from a visible angle try to construct an abacus based on it. The convincingness of constructing two elements depends on the correct construction of the ellipse itself, which was discussed in detail in previous tasks on depicting geometric bodies, in particular, when constructing bodies of rotation and their circles in perspective.

Having completed the construction of the upper structural elements of the capital, they begin to build the base of the column trunk. Taking into account the perspective positions of the full-scale model, one should rely on the laws of perspective. If the object is high above the horizon line or close to this position, then the ellipses located in the upper part will be wider than the ellipses located closer to the person drawing.

When correlating the proportions of parts and the whole, additionally clarify their location. Then, using light lines, construct all the necessary circles (ellipses) of the capital parts. When constructing them, it is very important to draw not only visible, but also non-visible visible elements the capitals seem to be transparent through and through, which contributes to the correct depiction of the volumetric structure of the capital.

Fig.89

When specifying the details of the capital, it is necessary to proceed from the logic of the structural structure of the elements and their parts. So, for example, the profile of a shelf with a fillet on the abacus, near the nearest vertical edge, as a rule, shifts either to the right or to the left, depending on its position relative to the one drawing, etc. The construction of various parts of the capital is shown in the figure. While working on a drawing, you should periodically approach the model being depicted and study the shape of certain parts that interest you. This will help to a certain extent in clarifying them in the drawing.

When depicting the half-shape of a capital, students often forget that it is part of a whole. Therefore, in order to obtain a correct image of half a capital, it is necessary to construct the entire image, and not just its visible part. Only after this can you begin to determine the half of the capital in accordance with its position relative to the one drawing. To produce the necessary vertical section, taking into account the perspective, the ellipses of the bases should be divided in half, and then the base of the square of the abacus slab. After checking and additional clarification, the unnecessary half can be slightly weakened, but do not get rid of it immediately, since with further elaboration and clarification, some distortions may be made on the desired half.

Thus, an indispensable condition for completing work on constructing a capital drawing is checking from a distance. Only from a certain distance can you see certain shortcomings. Particular attention should be paid to the proportions, perspective, character, volumetric-spatial form and general condition of the drawing. After clarifying the construction and correcting the mistakes made, you should move on to identifying the volumetric form with chiaroscuro. First, you need to outline the boundaries of your own and falling shadows, and then apply a light tone in the shadow areas, followed by gradual development of light and shade throughout the entire image and around it, gradually bringing the drawing to a certain degree of completeness.

Among the models for learning to draw, the following stand out: classic elements architecture. A special place is occupied by order systems, which arose in ancient times. For an artist, they are interesting because they are built impeccably from a design point of view, and all the details are in a certain order. Due to the variety of forms, the image of the order will be an excellent training for novice artists. Using them you can study the principles of construction and hone your ability to depict various figures on paper.

A significant element in the order system is the column. The upper part is decorated with a capital. For a draftsman, it is this detail that is of artistic interest.

When drawing a capital, several intended goals are achieved at once: students learn to build architectural forms, maintain proportions, and also correctly place the model on the sheet.

The types of capitals are very diverse, but, despite the style of execution, they are still based on standard geometric shapes. To depict this part of the column, you need skills in constructing basic shapes in perspective - a square and a circle. When different surfaces are combined, more complex figures are formed, therefore this type drawing is one of the most difficult tasks.
Work on the capital should be built according to a certain pattern:

• the general shape and constituent parts are analyzed,
• the most successful angle and location on the sheet is selected,
• Next comes the construction taking into account the laws of perspective,
• then the volume of the capital is highlighted by applying shadows,
• The last stage is analysis with the detection of shortcomings and generalization of all the work.

For beginning artists, it is first suggested to create an image of a Doric order capital, because... It is this type that is basic and on its basis other types of capitals were created. This is a standard of proportions, with its help you can develop your eye and study the laws of construction.

It is important to immediately correctly position the model on the sheet and find a good angle. The expressiveness of the drawing and the success of solving the set goal from the point of view of composition depend on this.

You need to start building with an image of the general shape of the capital. The first step is to determine the main axis, after which you should begin to build an image in perspective. While executing a drawing, you must constantly ensure that the proportions between its details are maintained. The correct ratio of all its components depends on the correct determination of the dimensions of the capital itself. In addition to the ratio of parts, it is necessary to correctly convey the volume of the capital.

When starting a drawing, you can start either from the base of the capital or from the upper base. Mistakes should be avoided when connecting two elements. The main difficulty for many beginning draftsmen is precisely the inscription of a circle inside a polygon. Therefore, we must not forget that regardless of the location of the corners of the polygon, the circle must remain horizontal. The center of each side of the square base should connect to the circle at the top of the column. If you try to fit an ellipse image to an initially incorrectly constructed square, all elements of the picture will be distorted.

Therefore, it is better to start with an ellipse, and then build a square base (abacus). After completing the image of the upper parts of the capital, you can begin to draw the base of the column based on the laws of perspective. When positioned when the object is significantly above the horizon, the circles at the top will be wider than those located closer to the artist.
The structure of the Ionic capital is more complex compared to the Doric one, because at its core it has many decorations. These details distract the artist's eye from the main structure. The Ionic capital has three basic parts: the barrel, the base of the abacus and the echin. What matches geometric shapes: cylinder, square and quarter shaft, respectively.
It is better to depict the decorative elements of the capital separately. In order to accurately distribute the decorative ornament of the capital, the visible part of the shaft must be marked with lines, not forgetting to take into account the perspective and roundness of the shape of the parts. Thus, some lines will follow the arrows, while others will follow the ionics. Now you need to draw the contours of the decorative elements.

When completing a task, you need to monitor compliance with proportions individual parts in relation to the whole. After that, with light strokes you need to outline all the ellipsoidal elements of the capital. In order to correctly construct the image, you should apply not only the visible, but also the hidden details of the capital, which will help to correctly construct and see the volume of the structure.

If the task is to depict only half of the capital, then we should not forget that it is still part of the whole. Therefore, for the image to be correct, you first need to make a complete construction, and not just the part that is visible. And after this stage, visible elements are already highlighted in the appropriate perspective relative to the one drawing.

For the correct vertical section of the drawing, you need to divide the circle and the square at the base in half. After clarification, the invisible part of the structure can be weakened without completely erasing it, because then the artist can find errors in the transfer of perspective.

On one of last stages When creating a drawing, you need to check the correctness of its execution at a distance, because Not all errors can be seen upon closer inspection. Particular attention should be paid to the proportions, spatial arrangement and volume, as well as the shape and nature of the image.

Only after adjusting the pattern can you begin to form the volume. It is created using chiaroscuro. First of all, the boundaries of the darkened areas are indicated, and then a tone is applied to them with a gradual elaboration of light and shade.

It is better to alternate tasks of this kind with sketches and drawings of capitals from memory, as well as copying the works of famous artists. During classes in art studio K.E. Arutyunova you can learn techniques for drawing any type of classical order. Individual approach to each student and the opportunity to build training depending on the initial skills of the draftsman, will help to quickly master the necessary drawing skills and help cope with the assigned tasks.