Draw a column with a pencil step by step. Drawing Doric capitals
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, since decorative elements distract attention and prevent one from seeing its main structural 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).
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For the correct image Ionic capital it is necessary to understand the constructive laws 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 its image constituent elements with their subsequent clarification.
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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, when drawing small details of the ornament, significant distortions in the shape of the quarter shaft profile may occur, which should be taken into account. 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. Getting Started Drawing architectural details from nature, it is necessary 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 of Tuscan, Doric, Ionic Greek, Ionic Roman, Corinthian and Composite columns.
In order to choose the right columns that will decorate the facade of the house, many people look for pictures in which the columns emphasize the intended style or are even a style-forming element. Since the columns in European architecture- a product of ancient creativity, it is worth familiarizing yourself with the columns in the drawings from the albums compiled by architectural historians. If you want to create a structure reminiscent of an ancient one, you can look at the columns in the photos of ancient temples in Greece. For example, an illustration of the Temple of Zeus at Olympia, the construction of which was led by Libo and then Phidias between 472 and 456. Temple of Zeus - Doric peripterus. The temple's perimeter was decorated with a Doric colonnade: 13 columns were located along the side of the facade, 6 columns along the short sides under the pediment - the main facades. This rhythm and the relationship between the parameters of the sides demonstrates the basic proportions used by Greek architects.
Illustration of the Temple of Zeus at Olympia - presumably this is what this ancient structure looked like before its destruction.
IN Lately increasingly, when decorating facades, ready-made columns made of various materials, for example from polyurethane. Pictures of such columns are presented on the website, and from them you can choose the most suitable in style. This type of column is used if they do not carry a load. If there is a load, then load-bearing columns made of steel or reinforced concrete are used, which can be decorated. It is for such cases that polyurethane columns are produced in the form of two half-columns..jpg But columns belong not only to ancient Greek and Roman cultures. If you want to decorate the facade of your house with Egyptian motifs, you can use columns Egyptian style. To get acquainted with the Egyptian style, you can study pictures with columns Ancient Egypt, preserved to this day. Writings and ornaments were applied to Egyptian columns. The columns could have smooth trunks or resemble intertwining plants. Sometimes the capitals resembled a bud or an open papyrus flower.
Egyptian columns are very colorful and figurative.
A column with a Hathoric capital depicting the head of the goddess Hathor, like the columns in the photo below, will be very informative in terms of Egyptian style.
Egyptian columns with Hathoric capitals. Sanctuary of Hathor. Hypostyle hall. Lithograph 19th century.
The effect can be enhanced by sculptures that are installed in front of the columns and rest on them, which do not bear the load. An example of such a symbiosis is in the picture with columns below.
Columns and sculptures in Medinet Habu, Ramesseum ensemble of Djoser in Sakar, Temple of Ramses III. 1185 - 1153 BC e.
Of course, in modern houses The proportions of the columns change in accordance with the height of the building. In addition, literal quotations of historical prototypes may turn out to be pretentious, but ornamental motifs and elements of columns, as in the figure below, can be transferred.
Ornamental motifs of Egyptian columns and designs can be transferred to columns in modern buildings.
Columns are also characteristic of eastern architecture, for example, the architecture of India. India has often been the subject of dreams for Westerners. An Indian style house will become bright accent, attracting attention, and the main element will be columns, as in the photo below. It is not so easy to single out a single Indian style, since Indian architecture is represented by a large number of trends that have evolved from traditions large quantity peoples living in this country. But if they decide to include columns with Indian motifs, then they get desired effect. You can focus on pictures with columns, which, for example, date back to the Mauryan era (the beginning of the reign of King Ashoka Maurya, when the country reached its peak -262 BC). The Ashoka (Sarnath) column can serve as an example. The Ashoka Pillar was created in the early 3rd century. The foundation on which words from the Dharma Chakra - (Wheel of Law) - the code of the state are carved has been preserved to this day. The capital with four lions is now kept in Archaeological Museum Sarnath, it became the national emblem of India and a symbol on the country's coat of arms. The figures of lions seem to guard power, looking at all sides of the world. On their backs is a wheel, symbolizing the movement of the universe. Under the figures of lions there are reliefs with dynamic images of animals, as if running after each other, symbolizing a closed cycle human life. The support for the figures is a lotus with its petals facing down. You can also take as a basis the picture of Ashoka’s column in Rampurva, with the figure of a bull standing on a bell. Despite the fact that such columns marked the territory of rulers and were not decorations of Indian facades, the idea can be used in decoration modern building to give it an Indian style.
Capital with four lions of Ashoka's column. 3rd century AD kept in the Sarnath Archaeological Museum.
Another option for the Indian style could be a carved column with three-dimensional figures for subjects Indian mythology and writing, which can be made of either stone or artificial materials, imitating stone so that it resembles, for example, the column in the photo below.
Columns of the Krishna Temple in Naggar.
Or the columns resemble, for example, the columns in the photo from the Malikarjuna Temple
Interior of Malikarjuna Temple.
Having decided on the style of the building and the design of the facade, they choose pictures with columns that match the specific building and the idea that the architect wanted to convey.
The role of a detail is never constant even in one particular national architecture, in one style or another. It is known that on the path of its development, each style goes through three stages: constructive, tectonic and decorative. At the first stage, the role of details is small, since it is quite utilitarian and close to pure construction. At the second, tectonic stage, an amazing fusion of the general and the particular arises; the details cannot be separated from the volume, they are so harmoniously combined, working together to general image structures.
The details are drawn here with extreme precision and sophistication. This is, for example, the architecture of ancient Greece during the High Classical era. The third period is characterized by the predominance of the decorative principle, when the effect is achieved not by the refined harmony of form and details, but by the number of used decorative elements. What was the basis of expressiveness in the tectonic period (for Greece these are order systems), as a result of all transformations becomes simply decor used to decorate buildings. In accordance with this, the drawing also changes individual parts. At the same time, architectural is one of the most amazing inventions humanity. He turned out to be so universal language architecture, which has been used in architecture for almost three thousand years. During this time, his image has been transformed many times, but the original semantic meaning of the elements remains unchanged.
The capital is the top part of the column. The column, which we usually perceive as one of the main parts of the architectural order, comes from the simplest support - a wooden pillar dug into the ground. The appearance of a primitive post-beam system, which initially consisted of round logs, was the first revolution in construction (this happened back in the Neolithic). The revolutionary nature of the design lay in the fact that the load-bearing elements in this system were separated from the crowning (carrying) ones. At the junction of the post and the beam, an intermediate element was placed - a board or a piece of wood. In the future, when Ancient Greece from a utilitarian wooden structure, an order was born - a system expressing artistic form the essence of the work of a post-and-beam structure, the space between the post and the beam was occupied by. shows how the load is transferred from the beam to the supporting column. It is precisely this perception that all its forms are designed for.
Let's learn to portray Doric capital by submission.
Capitals do not imply a complete absence of nature; the same applies to a vase and a bionic. These bodies are so complex that students may not have the spatial thinking skills to visualize their shape in detail. On the other hand, having drawn these objects from life, the student is quite capable of doing this work from an idea. The very nature of this task forces one to turn to the drawing of the capital according to the idea. Experience shows that when students draw a capital from life, measuring its proportions, copying details, an error, as a rule, creeps into the work. To avoid it, you must first draw the facade of the capital, and then, through the construction of ellipses, move on to the volume, which in its methodology is closer to drawing from representation than to drawing from life.
Start your drawing by analyzing the capital (Figure 8.6). Its main volume is a round symmetrical shape with a common vertical axis. The upper part of the capital - echin - a quarter of the shaft, can be imagined as both at the same time. Echinus mates with the cylindrical neck of the column through three successively decreasing belts (thin cylinders). The astragalus, consisting of a roller and a shelf, passes into the columns through a twist. the column is thinned at the top and can be presented both as a cylinder (at the bottom of the column) and as a truncated one. decorated with twenty long semicircular grooves - flutes with semicircular endings. Top part capitals - abacus (abacus) square in plan - slab (rectangular prism) with a heel and shelf.
The basis of the drawing will be the frontal projection of the capital. Mark its main dimensions on the sheet, draw the upper echinus and describe the abaci around it. Determine the dimensions corresponding to the main parts of the capital (Fig. 8.7). Draw the frontal projection to the end and draw ellipses on the horizontal axes corresponding to the main divisions of the capital (Fig. 8.8). Draw small parts capitals. A plan of the column trunk will help you correctly depict the flutes. Points transferred from the plan to a perspective image require minor correction taking into account perspective cuts (Fig. 8.9). When identifying the shape of a capital using chiaroscuro, use your knowledge of the nature of chiaroscuro in simple geometric shapes ah (Fig. 8.10).
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.
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 of a Doric capital- this is a key task in the category of drawing 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 the relationships of its 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.
The capital of the Doric order is selected for drawing, as the main one, the very first one 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, best model to study 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!
