Ionic capital drawing. Drawing capitals

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 regular geometric shapes, most 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 revolution, you should first determine the general vertical axis of the capital, and then proceed to perspective construction Images. 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 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 the construction of two elements depends on the correct construction of the ellipse itself, which was discussed in detail in previous image tasks geometric bodies, in particular, when constructing bodies of revolution 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 the visible, but also the invisible elements of the capital, as if through and through, transparently, which contributes to the correct depiction of the volumetric structure of the capital.

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. Special attention it is necessary to pay attention to proportions, perspective, character, volumetric-spatial form and the general state 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.

Full-scale production: Capital. Top side lighting.

Target: mastering the skills of constructing and conveying shapes in chiaroscuro capitals

This is a long-term drawing - a study, which is performed in compliance with and using appropriate techniques.

How to draw with a pencil capital? Capital consists of three main parts. The upper part, the abacus, is a thick square plate, 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 through a fillet. If you mentally imagine capital without small elements: echinus with belts, astragalus with a shelf and without fillet relief, then 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 examining its additional elements separately, 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.

Main parts of a Doric capital

Forms capitals, regardless of their diversity and style, they are always based on regular geometric shapes, most often related to bodies of rotation. Combinations of different surfaces form complex shapes, making drawing capitals in the educational process are considered to be the most difficult tasks.

Working on a drawing capitals you should start with the compositional placement of the image on a sheet of paper after a preliminary examination of nature from all sides in order to. 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.

Perspective construction of the image of a capital of the Doric order (beginning)

The construction of the image begins with a general shape. 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.

Perspective construction of the image of a capital of the Doric order (continued)

Construction of the structure capitals you can start with the square base of the abacus or with 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 beginning artists encounter difficulties when inscribing 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 a horizontal position, taking into account promising 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 image of an ellipse to an incorrectly constructed square. This will lead to significant distortion of both the elements themselves and the entire image.

Perspective construction of the image of a capital of the Doric order (completion)

Beginning artists with such complications are recommended to start by constructing an ellipse, and then, from a visible angle, try to build 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 capitals, 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.

Main parts of the capital of the Ionic order

When correlating the proportions of parts and the whole, additionally clarify their location. Then use light lines to construct all the necessary circles (ellipses of parts capitals). When constructing them, it is very important to draw not only visible, but also invisible elements capitals as if through and through, transparently, which contributes to the correct image of the volumetric structure capitals.

When clarifying details capitals 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. 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 making refinements in the drawing.

When depicting a half-shaped capital, novice artists often forget that this is part of the whole; it is necessary to complete the construction of the image, and not just its visible part. Only after this can we begin to determine half capitals 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.

Perspective construction of an image of a capital of the Ionic order (beginning)

Thus, an indispensable condition for completing the work on constructing the drawing is capitals is checking at 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.

Ionic, more complex in shape capital differs from the Doric saturation of the surface by additional decorative elements - ionics And in 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).

For the correct image Ionic capital it is necessary to understand the structural principles of the structure of decorative parts in connection with the structural basis of the capitals– an abacus square with a column cylinder. 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 capitals on the plane of the sheet, you first need to build an abacus with a column trunk, and then attach a volute structure to them.

Perspective construction of an image of an Ionic order capital (completion)

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 the Ionic capitals(the same as when depicting half capitals Doric order) it is important to first draw the contours of the whole form, and then make a symmetrical vertical section, leaving the desired half for further work. And the auxiliary one - for subsequent clarification of the main one.

This lengthy task must be alternated with,.

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 how to depict a Doric capital by representation.

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. The upper part of the capital is a square abacus (abacus) - a plate (rectangular prism) with a heel and a 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(Fig. 8.10).