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 against 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 the work is more expressive and interesting. However, their implementation requires additional time, which is limited in the 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 may be enough. complex, but, outlined many times, they are depicted easily and, therefore, quickly. But do not get carried away with complex insets and overcomplicate the work - remember that even a composition made using simple insets can be quite complex and expressive. how geometric bodies should crash into each other. Sometimes in compositions geometric bodies are cut so slightly that it seems as if they are not crashed 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.
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 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.
Material: geometric shapes of various sizes and shapes, cut out of black paper, glue.
Before moving on to this group of exercises, it is necessary to clearly understand some provisions arising from the previously performed exercises.
- To mutually balance each other, the area of the black space must be larger than the area of the white space (Fig. 1).
- The heavier spot is one that is isolated from surrounding objects. Vertically located forms are heavier than inclined ones. A regular and clear geometric shape is heavier than an irregular and blurred one. The severity also depends on the size of the object. Under equal conditions, a larger object is heavier. The severity depends on both the color and the contrast with the background (Fig. 2).
The exercises in this topic involve arranging different geometric shapes on a white plane. In this case, you need to make sure that the plane does not oscillate, and that the black figures balance the white spaces, try to avoid repetitions and achieve stability.
First, you must clearly find the middle axis on the plane. By placing the figures to the right and left of the axis alternately, balance is achieved between the sides (Fig. 3).
Remember the grouping rules:
- principle of similarity in size - large squares tend to each other, and small ones scatter (Fig. 4);
- principle of similarity based on shape - circles tend to unite and move away from triangles (Fig. 5);
- the principle of “consistent form” - the straight line is immediately separated from the broken line (Fig. 6).
In all exercises it is necessary to strive for image integrity. This is the basis of any composition.
Support all these exercises with examples from natural forms and the works of artists in various fields of art. From natural forms, you can take the location of various patterns on cuts of stones, the color of butterfly wings, shells, tree branches, flowers, etc.
In Van Gogh's painting "The Bedroom" we encounter the principle of similarity. The two chairs are identical in color, shape and location (Fig. 7). The principle of similarity forces the viewer to compare the chairs and find even more differences in them. The sameness of form and rhythms leads to a more stable, balanced composition.
In exercises, maintain a sense of proportion and avoid symmetrical arrangement of forms. Excessive symmetry reduces the dignity of the composition. The remarkable English artist William Hogarth warned that “the desire to avoid symmetry is a constant rule in the compositional construction of a drawing.” And the ancient Greeks said that the highest gift of the gods to man is a sense of proportion.
The exercises provide only a blueprint for students to acquire compositional skills.
Tatiana Nogina
Dear colleagues! Glad to see you on my blog! I have been conducting circle work for two years now. This is a very rewarding and exciting job. This work not only helps you remember geometric figures, but also to fantasize, develops logical thinking. And the aroused interest in work helps to remember better geometric figures. Children themselves can come up with an idea for what figure It is better to use for any detail.
There lived a cheerful hippopotamus.
His stomach didn't bother him.
He lived noisily in the swamp
And he was friends with frogs.
He loved to sing very, very much.
He sang with wahs until the night. (Loseva S.)
Huge wonderful hippopotamus
Lives only in Africa.
Round and big belly
Wide open mouth. (Volkov P.)
The children were delighted with the work done. Everyone got their own “Cheerful Hippo”. You can not only admire them, but also play with them. And if you stick a magnet on the back side, you can stick it on the refrigerator.
I would be glad if I helped someone with their work.
Publications on the topic:
Educational goal: To organize children’s activities to consolidate the concepts of what a circle, a triangle are and the ability to distinguish from each other.
Dear teachers and parents, I offer you an applique of geometric shapes that you can do with your children. Applications will help your.
A very easy to make game "Geometric Shapes". Kira chooses geometric figures, matching them with the figures on the game board.
Leisure “In the Land of Geometric Shapes” Leisure “In the Land of Geometric Shapes” Technologies: 1. Energy saving. 2. Problem-based games. 3. Developmental. 4. Informational. 5. Cognitive.
Summary of integrated educational activities in the middle group “Applique of geometric shapes “Lion Cub” Integration of educational.
Short-term educational practice “Applique of geometric shapes” Applique is a very popular type of children's creativity. Applique classes are of great importance for the all-round development of preschool children.
There are many fun ways to fill time, but appliqué from geometric shapes will be one of the most entertaining hobbies because it allows you to create real masterpieces of art. Afterwards, it will be possible to decorate the interior of the home, creating a special atmosphere for relaxation or performing household chores.
Applications made from colored paper have gained great popularity in preschool and school educational institutions. It allows you to comprehensively develop a child’s skills, improving his basic abilities:
- motor skills;
- thinking;
- fantasy;
- dexterity;
- accuracy and others.
Types of applications
Depending on the type of projects or paper crafts created, this hobby can be divided into 2 types:
What can you make from geometric shapes from colored paper?
There is no single standard, as well as a program for teaching children, how to make various applications from colored paper, because each person’s imagination is very different.
The main task is to develop all the basic skills in them. In most cases, the teacher independently decides what pictures the children will make or gives them the opportunity to independently choose what they want to do. This is how not only motor skills develop, but also thinking, as the child chooses the character he likes.
Simple compositions
First, simple flat figures are mastered. For example, a train applique would be a great option for boys. It can be composed of several regular geometric figures, which will be cut out by the teacher or the child himself, depending on age.
Children begin to confidently hold scissors in their hands only at the age of 5-6, and cut out complex figures of irregular shapes in the first grade. In fact, it all depends on the child’s development, his activity and abilities. That's why a train would be a great start.
It will require:
- 3 rectangles of different colors and sizes. 1 will become a platform, 1 – a driver’s cabin, 1 – a water tank;
- the semicircle will be the front of the tank;
- an inverted isosceles triangle can become an exhaust pipe;
- a pair of circles - wheels;
- a long rectangle - a rod for eccentric connection of wheels.
The child learns from the presented materials to fold an image on a sheet of paper, spread glue evenly, and evenly combine the parts together. Fine motor skills, thinking, and imagination develop if you invite him to make a train without an example.
Another fairly simple version of a paper masterpiece is a bird applique. It will require one large circle for the body, a couple of semicircles for the wings, several small triangles for the legs and beak.
You can create pictures of various animals from geometric shapes, letting your child think for himself which one he can make.
Volumetric applique made of colored quilling paper
After developing the skills of creating flat compositions, they proceed to volumetric applications from colored paper. Such crafts will be more difficult to master, so they are used in teaching for older children. For example, in the 4th group of kindergarten or 1st grade. Guys with good abilities can be assigned to a circle.
In the first stages, it is better to master simpler volumetric compositions. For example, a house applique with cutting templates is a good option. The wall may be flat, but the windows, roof and exhaust pipe may be protruding.
The method of adding volume is used differently. Paper parts can be bent, or they can be glued on an additional leg onto a background of the same dimensions, creating a 3D effect with a shadow.
Butterfly applique is one of the simple options that many children can master, even when making a composition in volume.
To do this, you can cut out 2 identical parts. Glue one completely, and bend the second in half and glue it in the center. This is how you get wings. The head is formed from a circle, and the body from a strip.
Volumetric compositions from simple figures
For younger children, you can suggest making an applique from circles of colored paper. From these, if you have some imagination, you can make both flat compositions on a white sheet and three-dimensional ones.
With circles, abstract thinking will develop well if you invite the child to complete an arbitrary picture.
When children's imagination is already somewhat developed, they move on to more complex tasks. For example, mosaic applique is a good option for further development of skills.
Give your student a set of cuttings of different or the same shape so that he can come up with a composition on his own. If there are enough colors, you can get quite colorful pictures.
Cutting templates
If you don’t know where to start with your child’s development, then use a ready-made bunny template for appliqué or other animals.
There are many interesting sets with which you can comprehensively develop children's skills. In any case, all applications contribute to the formation of such qualities as:
- figurative and spatial thinking;
- perseverance;
- endurance;
- fantasy;
- manual dexterity and motor skills;
- accuracy.
As you reach a new level, the tasks for creating compositions can become more complex.
