Application of regular geometric shapes. Application of geometric shapes

In Fig. 6.1 shows simple geometric bodies that should make up the examination composition. In addition to the bodies already familiar to you, dies and sticks are presented here. Dies are additional flat square, round and hexagonal elements whose height is equal to one-eighth of the edge of the cube. Sticks are linear elements of a composition, the length of which is equal to the edge of the cube. In addition, bodies of the same proportions, but of different sizes, can be used in the composition. These are so-called compositions with scaling (since in this case the sheet contains identical bodies, but as if taken on a different scale). Consider the compositions made by applicants in recent years (Fig. 6.2-6.20).

The form of the examination composition, its size, placement on the sheet, the degree and nature of the interaction of geometric bodies have long been established. All these positions are reflected to one degree or another in the examination task. Of course, you should immediately make a reservation that we will be talking about the exam task that exists today - it may be changed at the time you read this section of the manual. However, we hope that the essence of the task will be preserved, and you will be able to use our tips and recommendations.

First of all, we list the criteria by which your compositions will be evaluated:

Compliance of the completed drawing with the task;

The compositional idea as a whole, the harmony of the compositional solution and the complexity of the composition;

Leaf composition;

Competent depiction of individual elements of the composition, correct perspective and insets;

Graphics, tonal solution;

Completeness of work.

Now let's take a closer look at each of the listed positions. It would seem that the mandatory compliance of the composition with the examination task is undoubted. However, sometimes in the process of preparing for an exam in students’ work there are not only errors in the proportions and relative sizes of geometric bodies, but also a conscious change in them. This is usually explained by the fact that the geometric bodies specified by the exam conditions have ugly proportions and relationships - the hexagon is supposedly too long, and the ball is too small. This is true, but you already know that in the exam task proportions and ratios are expressed in simple proportions 1:1 or 1:1.5 - and this is no coincidence - they are easy to depict and easy to check. They cannot be changed. This is a task; if you change the task, you are taking some other exam. To make this statement more convincing, imagine that in a math exam you multiply not 2 by 2, as the task requires, but 3 by 3, because it is more harmonious, more interesting and more expressive.

If we talk about the general compositional concept, then the exam has traditionally developed in such a way that the applicant is not required to create a composition that meets some conditions, mottos (statics, dynamics, suppressed movement, heaviness, stability, etc.), as is done in some other architectural universities in our country. Whether this is good or bad is a completely different conversation. The important thing is that such freedom is perceived by many applicants as legalized arbitrariness, when all the laws of composition and the laws of harmony can be ignored. Often, exam papers turn into a pile of objects that, although they interact with each other, do not create anything other than some kind of complex chaos. Of all the possible ways to compose a composition, this seems to be the worst. Architectural composition is a diverse thing, or rather, it can be so, since there are many ways to achieve harmony. But composition is not chaos. Harmony may be paradoxical, but it never arises from chaos. Chaos is entropy, dispersion, confusion of everything. Harmony is always natural, ordered, it resists entropy, fights it, and the goal of Homo sapiens is the victory of harmony over chaos. Composition is where harmony is.

In your work, choose a topic that is close to you. This can be massive stability or light, directed into some conventional distance or upward movement. The movement can be looped or extinguished, stopped. The mass can be dense or discharged. The composition can be built on metric, uniform patterns or, conversely, on a simple or complex rhythm. It may contain a uniform distribution of mass or sharp, highlighted accents. The listed properties can be combined (except, of course, those that exclude each other in one work). It should be remembered that the feeling of the complexity of the composition arises from the perception of the complex harmony of some non-trivial design, and not only from the complexity of the inserts and certainly not from the accumulation of many bodies.

Correct perspective is a prerequisite for good composition. You've probably already noticed that when your composition consists of only a few geometric bodies, maintaining the correct perspective on the sheet is quite difficult. Even if the work is based on an almost perfectly constructed cube, the addition of each new body leads to a gradual increase in distortion.

It is quite difficult to track them and correct them, especially in the first compositions, when experience and practical skills are still small. That is why, to correctly determine the opening of all edges and the direction of all lines on a sheet, various methods are used to organize all these interconnected positions, bringing them into a single system. One such system is described in detail in the following assignment. This is the so-called grid - a spatial structure that determines the opening of the edges of geometric bodies and the direction of lines in perspective throughout the entire sheet.

In the process of preparing for the exam, the “grid” will help you bring together all the variety of tasks associated with the process of constructing a composition, and at once, easily solve them. Of course, the “grid” is a useful thing, but, of course, it also has its pros and cons.

On the one hand, when depicting compositions based on a “grid”, you, of course, spend some (sometimes quite significant) time on the preparatory stage (drawing the “grid” itself), thereby reducing the time spent working on the composition itself.

On the other hand, the “grid” can significantly reduce the time required to solve purely technical problems related to determining the directions of horizontal lines and revealing various surfaces. Of course, a certain skill will allow you to minimize the time spent on the “grid”, but if an error is made in the “grid” (which is quite likely under stressful exam conditions), then you will only be able to notice this error after drawing the first geometric body.

What to do in this case - correct the grid or abandon it altogether to make up for lost time? It is only obvious that you should start working on an exam composition with a “grid” only if for the exam you have learned how to make a “grid” quickly and efficiently, bringing this process almost to automatism, and you can easily build a composition based on it.

Another question that often worries applicants is the question of sidebars: what kind of sidebars should be done, how complex should they be, and is it even worth doing them at all? Let's start with the fact that you don't have to make sidebars in the examination composition - in the exam task, the use of sidebars is only recommended and is not a prerequisite, but it should be understood that a composition without sidebars is significantly inferior in complexity and artistic expressiveness. Do not forget that your composition will be evaluated among others, and therefore, by making a composition without sidebars, you obviously reduce the competitiveness of your own (concerns. Of course, from year to year the level of the examination composition is growing, and this dictates the inclusion in the composition of complex sidebars that make the examination work is more expressive and interesting. However, their completion requires additional time, which is limited in exam conditions. In this situation, it all depends on your experience - if you studied hard for the composition exam, most likely you already have your favorite boxes, which can be quite complex, but, outlined many times, they are depicted easily and, therefore, quickly. But do not get carried away with complex insets, overcomplicate the work - remember that even a composition made using simple insets can be quite complex and expressive. It is also important to say about how geometric bodies should cut into each other. Sometimes in compositions geometric bodies are cut so slightly that it seems as if they are not cut into each other, but only barely touching. Such compositions tend to evoke a feeling of instability, instability and incompleteness. The viewer has an irresistible desire to make such a composition denser, to cut geometric bodies deeper into each other. Analyzing such work, it is difficult to talk about it as a composition - a group of harmoniously subordinate volumes. In other compositions, the bodies are so deeply embedded in each other that it is no longer clear what kind of bodies these are? Such a composition, as a rule, looks like a complex mass with parts of geometric bodies protruding from it and does not create a sense of harmony in the viewer. The bodies in it cease to exist as independent objects, turning into a geometric mixture. If we do not consider such extreme cases (when geometric bodies hardly crash into each other or when they turn into a single dense mass), to create a medium-density composition, the following rule should be followed: a geometric body should crash into another (or other) geometric bodies no more than half, better - one third. In addition, it is desirable that the viewer can always determine the main dimensions of a geometric body from its visible part. In other words, if a cone crashes into any body, its top, a significant part of the lateral surface and the circumference of the base should remain visible in the figure. If a cylinder crashes into any body, then parts of the lateral surface of the cylinder and the circles of its bases should remain visible. Special mention should be made about the insets of cubes and tetrahedrons - in the composition, these geometric bodies form a background or, a kind of frame, for the arrangement and inset of other geometric bodies that are more complex in construction. Therefore, insets are allowed when the visible parts of cubes and tetrahedrons make up less than half of their volumes.

If you want to know what appliqués from geometric shapes are and want to teach children this type of art, then this article is for you.

The appliqués that children make are sometimes very simple and naive, but they help children develop their cutting, design and imagination skills. Children also absolutely love gluing colored shapes onto the background.

First, children glue figures that adults cut out onto the background. But time does not stand still - children grow. And over time, children learn to cut, glue and create themselves. And then the child should be taught the most interesting types of applications.

By making geometric applications, the child develops his eye and spatial thinking, learns to combine colors and becomes familiar with geometric shapes.

The simplest applique of geometric shapes can be considered making patterns on a long strip of paper. Then you can move on to designing various objects, vehicles, animals, plants. Thanks to this, the child develops creative abilities.

For 1st grade students

Children already more or less own scissors when they enter 1st grade. In this case, templates will become indispensable assistants. With their help, children will be able to cut out the necessary parts from paper, and it will be easier for them to create and learn to make appliqués. Here are templates for several simple geometric applications:

Here are some examples of work for 1st grade children and their diagrams:

Application “House in the village”:

It seems to be nothing complicated, no complicated details. It's simple. A house, sunshine, a tree, but there is something extraordinary in this picture. In addition, the child will make this picture even more unique, because it will be the embodiment of his imagination and thinking.

Application “Cat and kitten”:

To make an applique of this cat with a kitten, a child will need to cut out a wide variety of shapes and put them together to create a complete image to their liking.

Application “Funny Caterpillar”:

The funny caterpillar will amuse your kids. It is interesting not only to look at, but also to do. After all, these circles and other details can be arranged in different ways. And each child will get their own unique cheerful caterpillar.

To make the above house, cat and caterpillar appliqués, you can simply print out the diagrams, then children can cut out the figures and glue them onto paper. But this is too simple. So you can make your own templates. And then the children will cut out parts from them from different colors and glue them.

For children 3-5 years old

There are also applications intended for preschool children. They are quite simple. Children will learn a lot in the process. And most importantly, they will become familiar with geometric shapes and where they can be used.

Having printed templates, you need to make the application in the following sequence:

1. Cut out templates from paper;
2. Glue the parts to their corresponding places.

Here are some more similar works.

These applications are quite simple to make, so they are suitable for young children, so to speak, beginners in applications. You can choose from a wide range of designs and print the one that suits your child best.

The smaller part of the image will serve as templates, with the help of which you will need to cut out details of different colors and paste them onto the larger part, which will serve as the background for the applique.

The application is performed in the following order:

1. Cut out the templates that are on the side of the page. Templates are obtained;
2. Next, you need to use the prepared templates to cut out the parts from papers of the desired colors and stick them to their corresponding places.

For 4th grade children

While making appliqués from geometric shapes for children who are in 4th grade, children will learn to clearly mark out parts according to a template and assemble individual geometric shapes into a complete image.

First, the children should be shown what the work will look like upon completion. Children will need: colored paper, cardboard, glue, ruler, pencil, scissors and a brush.

First, children need to prepare a workspace and prepare everything they need to make an applique.

See if you have everything ready for the lesson? We will need: colored paper, cardboard, glue; ruler, pencil, scissors, eraser, brush; glue jar, napkin, oilcloth.

This is the order in which you need to proceed to make the application:

1. Prepare the base;
2. We translate and cut out the parts according to the template;
3. Let's create an application.

Let’s get started with the application of geometric shapes “Cat and Mouse”:

These are the parts needed for mice and cheese. Templates for them are easy to make. Cut too. But it is very interesting to create such beauty from simple geometric shapes.

Next we move on to the cat. These are the parts needed to make a cat. As you can see, among the materials there is a felt-tip pen with which children can realize their imagination and draw a unique face for a cat.

Many novice educators are thinking about how to make an applique from geometric shapes and why it is needed. During such lessons and activities, children receive a lot of useful information about the types of geometric shapes and learn to understand the basic shapes of objects. After working with small parts, the child will have well-developed fine motor skills and will also be perfectly prepared for mathematics.

Applique of various figures is an incredibly interesting activity with which you can help your child develop the following abilities:

• good thinking;
• creativity and imagination;
• artistic taste;
• eye gauge;
• correct color perception.

Classes dedicated to selecting elements by color can teach your child how to combine colors. In addition to developing many abilities, every child enjoys this activity.

You can start such interesting activities when your child has already started going to kindergarten.

Gallery: applique of geometric shapes (25 photos)

Applications for little ones

In the younger group, kids learn the skills of carefully gluing the parts of a future composition: applying glue correctly and evenly, arrange parts of a certain color and shapes in the required order, remove excess glue using napkins.

If you don’t want your child to lose interest in this activity, you need to play with geometric shapes and collages of geometric shapes. For example, colored mugs can be turned into balls, and apples can be turned into a caterpillar. The squares can make a cat or a dog.

Lessons with applique Educators often use a funny moment: Show the kids a large sheet of paper with a picture of some cute animal, for example, a cat or a fox. Then together they figure out how to make it themselves from figurines.

In the second younger group they perform more difficult tasks - glue finished parts, changing shape and color. To increase interest in classes, teachers create new tasks and ask to add something to the finished craft.

Once children have mastered the basic skills of working with scissors, you can assign them more complex tasks, for example fill a big truck with some stuff. In this group, children are often tasked with making a rocket.

In the middle group they are taught to consolidate the skills of cutting strips, slicing and dividing geometric shapes. From the cut out parts they can make: a Christmas tree, a hut, a boat, a rocket, a flower.

Any child has a hard time cutting out round-shaped parts, but without this it is difficult to make a normal animal or bird. Kids like it most make duckling, bunny and chicken. Thanks to proper work with applications of geometric shapes, they can learn to depict various vehicles, for example:

• airplane;
• tank;
• tractor.

In the senior group, everyone practices their acquired skills and learns how to create crafts from geometric shapes with bright images.

At this age children like it more perform collective works and compositions. This promotes the development of communication between children and the ability to get along with each other. Usually a collective composition takes only two days: first a house, a man, and then a car are created. Both preschoolers and children in elementary grades are interested in such activities.

The most difficult work is considered to be the clown applique made from geometric shapes; it has a lot of details and bright colors; it takes a long time to cut out. To make it easier, you can first draw diagrams.

Conclusion

Most often, such work is carried out in kindergarten or in grades 3–4. Crafts from triangles or squares are all quite simple. If you want to prepare your child for many things in the future, you should try applique work with him.

Can you make animals from geometric shapes?

Never tried it?

Then it’s worth looking at the pictures on the website, where various animals are made from geometric shapes. Offer these drawings to your children: they will surely appreciate their originality.

Geometric world

In everything that surrounds us, we can find elements of geometry.

A table can be round or square, our houses are parallelepipeds, etc. Haven't you watched how artists draw? They first outline the contours of an object with a base of geometric shapes, and only then draw smooth lines around them. They see the world as geometric, and smooth or soft lines only hide the real essence of things.

In pedagogy for preschool children, there is even a whole direction where children are taught to see pure geometric shapes in everything. This is Mary's pedagogy. She believed that pure geometric shapes contributed to children's better development and orientation in the world. This is not to say that this system is ideal, but it has found its supporters.

Now let's remember the works of artists of the era of modernism and postmodernism. Pictures appear before your eyes, filled with squares, triangles, circles, trapezoids and all kinds of shapes, painted in different colors. This is how the painters of the new era saw the world, and there had to be a basis for this. They tried to convey this world untouched by human hands. Their desire was to show that we all and all objects around us are composed of geometric shapes. Our whole world, if you look closely, is solid geometry.

How to use pictures when working with children

It is quite clear that the question arises: artists are one thing, but why do children need such a vision of the world?

Of course, pictures with animals made from geometric shapes do not aim to impose on the child an extraordinary vision of the world. However, why not show that such an interpretation of everything that surrounds us is possible.

Using the pictures you can learn the names of geometric shapes in an interesting and exciting way. From simple demonstration and repetition, the child quickly gets tired and begins to refuse classes, even if they are taught by the mother at home. It’s another matter if figures need to be found in animals. This is where genuine curiosity awakens.

When you have fully explored with your child the names of the shapes and their appearance, ask the child to show his vision of the world. Let us take an animal or any object as an example.

Ask: what geometric figure does it resemble?

Such exercises:

1. - develop observation skills;
2. — improve logical and spatial thinking;
3. - contribute to the vision of an object hidden behind the outer shell.

The baby learns to see and observe what others cannot or do not know how to see. Isn't this the education of an artist and a creative person?

Or you can play the reverse game. Imagine that you are abstract artists. Have one of you draw something consisting of geometric shapes, and the other try to guess what is drawn. Postmodernist painters often encrypted their drawings on a canvas filled with squares, rectangles, trapezoids... the same puzzles were previously offered in children's magazines.

You can create such a puzzle yourself: you just need a little imagination and a look at the world through the prism of geometry.

Imagine that in front of you is a flat sheet of paper that is absolutely not filled with any image elements. It’s easier to say - a blank slate. How is it perceived by us? Naturally, the plane of the sheet does not carry any information; we perceive it as meaningless, empty, and unorganized. But! One has only to apply any spot, line, or stroke on it and this plane begins to come to life. This means that our pictorial elements, any - a spot, a line, a stroke - enter into a spatial connection with it, forming some kind of semantic connection. 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.

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

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 capable of feeling 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 complete compliance. Vision is capable of perceiving combinations of colors that do not irritate the eyes or, on the contrary, may turn out to be completely disharmonious. I will say more, our natural instinct from the very beginning, whether you like it or not, strives for a feeling of harmony in everything. And it subconsciously obliges, by feeling, to arrange objects and their parts so that not a single part of the composition turns out to be alien or disproportionate. You just need learn to listen to your feelings and understand how to achieve harmony, that is, to create a good composition. I love it.

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 and feel that in some cases he will occupy a more stable position, in others - an unstable one. Figure on the left: look at how our vision works - it would seem that the most stable place for a circle is the coincidence of its center with the geometric center of the sheet plane (by drawing diagonal lines from corner to corner of the sheet, we get the center of the sheet at the intersection of these lines). However, that's not all. Due to an optical illusion (the eye slightly 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 seems to be 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 and a feeling of disharmony. 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 the picture on the right. Do you feel the circle is in a stable position? It occupies exactly its place in the square. Thus, our simplest composition will be more harmonious, and therefore more correct.
Understanding: the plane and the object form a certain conditional spatial connection 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, and the non-central parts are perceived passively. This is how we feel. This perception of conditional space is how our vision strives to find peace. This understanding is rather conditional, but true.

The eye strives to see harmony in what it observes; it determines the center of our composition, which for it seems more active, everything else is more passive. This is what only the study of one clean plane of the sheet can give us. Moreover, this is something that only the study of one square shape of the sheet plane can give us. But the principle is the same. This is what concerns the structure of the sheet plane.

But this would not be enough to dissect a plane or create a composition from one element on a 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 the 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. Objects are strongly shifted to the left, leaving 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? Naturally, balance the parts of the composition so that they harmoniously form 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 this how you feel more harmonious? I think yes. What does it mean? When visually perceiving the elements and plane of the sheet and when analyzing their connections: the influence of the internal forces of the structure of the plane on the nature of the behavior of the pictorial elements is felt. What does it mean? Our elements participating in the composition interact with the conditional diagonal, vertical and horizontal axes of the plane. We have achieved stable visual balance of all components of the composition relative to the geometric center. Even if not a single figure here is in the middle, they balance each other, forming together a center where vision expects it, which is why looking at this drawing is more comfortable than 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 disrupt 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 study.

You should always strive for 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 rotation - turn your composition upside down, or 90 degrees, it should also be pleasant to view, without any hint of discomfort. And it’s easier to assume that the geometric center of the composition is at the intersection of the diagonal lines or a little higher, it is in this place that the eye, after viewing the composition itself, whatever it may be, ultimately stops and finds “rest”, calms down in this place, even if there is no object on it. This is a conditional place. And a harmonious composition is considered to be one when there is no longer any need to introduce new elements or remove any from it. All the “persons” participating in the whole composition are subordinated to one common idea.

Basics of composition - static balance and dynamic balance

The composition must be harmonious and its individual sections must be balanced. Let's move on and look at 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 that includes a circle and stripes. This shows the static balance of the circle and 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 conventional geometric visual center is located at the intersection of the diagonals, and the composition can be viewed from all sides, without giving rise to the identification of disharmony.
Now look at the picture on the right. We see a dynamic balance of several semicircles and circles with the dominant color highlighted. How is dynamic equilibrium achieved? If you look at the hidden structure of the sheet, then in addition to the horizontal and vertical axes of constructing a composition, you can clearly see the use of a diagonal axis. Its presence and use are revealed by a red circle, which in this composition is the dominant spot, the area to which the eye pays attention first. 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 are subordinate. One can say more: all other elements enhance the significance of the dominant and “play along” with it.

We have the main character - the dominant and secondary elements. Minor elements can also be divided according to importance. More significant are accents, and less significant are secondary elements. Their significance is determined only by the content of the story, the plot of the composition, and 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 an element that differs from the shape of other elements.

4. The texture of an element, which differs 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 an overall cold range of secondary elements, or a dark color among light ones...

6. Elaborations. The main element, the dominant, is more developed than the secondary ones.

Compositional and geometric centers of the composition

Let's continue... This dominant, a conspicuous active element, is not located in the center of the sheet, but its weight and activity is supported by many secondary elements located diagonally further, opposite this dominant. If you 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, as well as diagonally. Elements are used that differ in activity from the previous composition - they are more actively located and more active in form. Although they are arranged elementary, according to a conventional grid, and the structure of the composition is simple, in addition, the composition has a dynamic balance, as it leads the viewer along a certain trajectory.

Note: the composition on the right was not created using paints on paper, but I really liked it, and in essence, by and large, this does not change. This is also a composition. Let's 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 beginning 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 viewer turns his first glance to composition center, the dominant, but after examining it, and then after reviewing the entire composition, your eye still stopped at geometric center, right? Check it out for yourself, monitor 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 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 settle there. And it is precisely with the successful construction of the composition, namely, the correct use of the geometric center, that it is harmoniously visible from any turn. And the compositional center is where the composition begins to conduct a dialogue with the viewer; this is a section of the composition that allows you to control the viewer’s attention and direct it in the right direction.

Static composition and dynamic composition

Now we come to the following terms that we need to consider. These terms differ in meaning from static equilibrium and dynamic, meaning: you can balance any composition in different ways. So... What is it static composition? This is the state of a composition in which the elements balanced with each other as a whole give the impression of its composition. stable immobility.

1. A composition based on which one can visually clearly observe the use of a hidden leaf structure for construction. In a static composition there is a conditional order of construction.

2. Objects for a static composition are selected that are closer in shape, weight, and texture.

3. There is a certain softness in the tonal solution.

4. The color solution is based on nuances - similar colors.

Dynamic composition, accordingly, can be built in the opposite way. This is the state of a composition in which elements balanced with each other give the impression of it. movement and internal dynamics.

I repeat: but, whatever the composition, 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 rotation - turn your composition upside down, or 90 degrees, with general masses and color / tonal spots, it should also be pleasant to view, without any hint of discomfort.

Basics of composition - exercises

Additional exercises can be performed with gouache, like appliqué, colored pencils and other materials that your heart desires to work with. You can perform from the exercise that you find most easy or interesting to the most difficult.

1. Balance several simple-shaped elements on a square plane. Using the same principle, create a composition of a simple landscape motif.

2. From simple stylized motifs of natural forms, make a sketch of a closed composition (not beyond the scope of the picture), enclosed in a sheet format. Closed composition - the action revolves only in the space you use, complete clarity. The compositions have a movement in a circle.

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

4. Using the principle of dividing the elements of a composition, balance several figures of different configurations in a rectangular format. Using this principle, perform a simple composition on an arbitrary theme.

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

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

Expressive means of composition

Expressive means of composition in decorative and applied arts include line, point, spot, color, texture... These means are at the same time elements of composition. Based on the assigned tasks and goals and taking into account the capabilities of a certain material, the artist uses the necessary means of expression.

Line is the main formative element that most accurately conveys the nature of the outlines of any shape. The line performs a double function, being both a means of representation and a means of expression.

There are three types of lines:

Straight: vertical, horizontal, inclined
Curves: circles, arcs
Curves with a 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.

The lines transmit:

Vertical - striving upward

Inclined - instability, fall

Broken lines - variable movement

Wavy - uniform smooth movement, swinging

Spiral - slow rotational movement, accelerating towards the center

Round - closed movement

Oval - the direction of the form towards the focal points.

Thick lines protrude forward, and thin lines retreat deeper into the plane. When sketching a composition, they create combinations of certain lines and spots that stimulate the manifestation of its plastic and color properties.

The dot is widely used as one of the means of expression in many works of decorative and applied art. It helps to identify the texture of the image and convey the conditional space.

The stain is used in the rhythmic organization of non-figurative ornamental motifs. Spots of various configurations, organized into a specific composition, acquire artistic expressiveness and, having an emotional impact on the viewer, evoke in him the appropriate mood.

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

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

More means of composition

1. Subordination: a person in the first second begins to perceive the composition as a silhouette image on a certain background: the area of ​​the silhouette, the drawing of the contour line, the degree of compactness, tone, color, surface texture, and so on.

2. Symmetry and asymmetry: An effective means of achieving balance in a composition is symmetry - the regular arrangement of form elements relative to a plane, axis or point.

Asymmetry - the harmony of an asymmetrical 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 pattern (symmetry or asymmetry), and uses asymmetry to highlight the main elements of the composition.

3. Proportions are the quantitative relationship of individual parts of a composition with each other and with the whole, subject to a certain law. A composition organized by proportions is perceived much easier and faster than a visually unorganized mass. Proportions are divided into modular (arithmetic), when the relationship of parts and the whole is formed by repeating a single given size, and geometric, which are built on the equality of relations and are manifested in the geometric similarity of divisions of forms.

4. Nuance and contrast: nuanced relationships are minor, weakly expressed differences in objects in size, pattern, texture, color, location in the space of the sheet. As a means of composition, nuance can manifest itself in proportions, rhythm, color and tonal relationships, and plasticity.
Contrast: it consists in a sharp opposition of elements of the composition. Contrast makes the picture noticeable and makes it stand out from others. There are contrasts: direction of movement, size, conventional mass, shape, color, light, structure or texture. When the direction is contrasted, the horizontal is opposed to the vertical, the tilt from left to right is the tilt from right to left. In size contrast, tall is contrasted with low, long with short, wide with narrow. With mass contrast, the visually heavy element of the composition is located close to the light one. In contrast, “hard”, angular forms are contrasted with “soft”, rounded ones. With light contrast, 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, alternating them, increasing or decreasing. The simplest pattern on the basis of which a composition is built is the repetition of elements and intervals between them, called modular rhythm or metric repetition.

A metric series can be simple, consisting of one element of shape, repeated 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 form is significantly enlivened by the combination of several metric rows combined into one composition. In general, the metric order expresses staticity, relative peace.

A certain direction can be given to the composition by creating a dynamic rhythm, which is built on the patterns of geometric proportions by increasing (decreasing) the sizes of similar elements or on a natural change in the intervals between identical elements of the series (a - d). A more active rhythm is obtained by simultaneously changing the size of the elements and the intervals between them (e).
As the degree of rhythm increases, the compositional dynamics of the form intensifies in the direction of thickening the rhythmic series.

To create a rhythmic series, you can use a natural change in color intensity. In 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 the element. With changing sizes of elements, color can enhance the rhythm if its intensity increases simultaneously with an increase in the size of the elements, or visually balance the rhythm if the color intensity decreases with increasing 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 their quantity (to create a series you need to have at least four to five elements).

Warm bright colors are used to highlight the active elements of the composition. Cool colors visually remove them. Color has an active effect on the human psyche and can evoke a wide variety of feelings and experiences: to please and sadden, to invigorate and depress. Color affects 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 colors in the middle part of the spectrum (yellow-green region). The colors in this area give a more stable color perception, and the extreme parts of the spectrum (violet and red) cause the greatest fatigue of the eyes 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 a stimulating effect and accelerate the vital processes of the body. Passive colors (blue, purple) have the opposite effect: they calm, cause relaxation, and decreased performance. Maximum performance is observed under the influence of green color.

The natural human need is to color harmony = subordination of all colors of the composition to a single compositional concept. The entire variety of color harmonies can be divided into nuanced combinations based on convergence (identity of tonality, lightness or saturation), and contrasting combinations based on opposition.

There are seven options for color harmony, based on similarities:

1. the same saturation at different lightness and color tone;

2. the same lightness with different saturation and hue;

3. the same color tone at different saturation and lightness;

4. the same lightness and saturation with different color tones;

5. the same color tone and lightness at different saturations;

6. the same color tone and saturation at different lightness;

7. identical color tone, lightness and saturation of all elements of the composition.

With changing tonality, harmony can be achieved by combining two main and intermediate colors (for example, yellow, green and mustard) or by contrasting tonality. Contrasting combinations are made up of complementary colors (for example, red with cool green, blue with orange, violet with yellow...) or from triads that include colors that are equally spaced on the color wheel (for example, yellow, purple, green-blue, red, green and blue-violet). Color harmony is formed not only by combinations of chromatic colors, but also of rich chromatic and achromatic colors (blue and gray, brown and gray, and so on).

More exercises...

1. Sketch a natural motif with a line and spot

2. Create a thematic composition using graphic means of expression - line, spot, dot

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

8. Dissect the plane of a circle inscribed in a square (black and white solution), and from the dissected circles create a rapporteur composition. 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 motivate it to be created. These forces are much stronger and more efficient than if you thoroughly and spend many hours studying the technical aspects of its creation, but skimp on putting at least a drop of your soul into the process. This is a strong motivation, a driving force. You are an artist, no matter what knowledge and skills you have and what stage of development you are at. You are an ARTIST, a creative person. Before creating a composition, any composition, you harbor an idea, think, feel emotions, and observe its creation within yourself. Some of us dream about it, some of us are under the influence of this magical process day after day, sometimes it simply prevents us from living like all ordinary people, because we create it from the very beginning within ourselves. Any composition, any creation is a sublimation of those sensations and experiences that accompany the artist and grow in him, in his consciousness. And then, one day, at one moment, you understand that here it is, creation, it can now be born and you finally understand what you must do. And the composition is born. Now nothing can stop your creative process. But by and large, composition is the artist’s mood, thoughts, the very idea that he splashes out onto the lifeless plane of a sheet or canvas, forcing them to LIVE their own, unique life, not like everyone else. And even if the artist is not very strong in studying the laws of composition on a sheet of paper, the creative power of creation is many times stronger, everything else is a matter of profit. Don't be afraid to express your thoughts and feelings. Bold and simple, mysterious and angry, joyful and fantastic.... no one can tell you better about your thoughts, only you yourself.