التصوير الزيتي ٢_a , من كتاب تكنولوجيا التصوير , د.م محمد حماد

This relationship or ratio is found as a basic ratio in all designs or plans based on pentagonal shapes and other polygonal regular shapes, and square or rectangular shapes whose sides are in this sense are considered harmonious.

Like this, drawing a square or rectangle in the same proportion, with one of its sides decreasing

It is also possible to obtain such a quadrilateral shape by lengthening the base of the square so that the right deviation is equal to the left deviation. It is also possible to divide the square in the form of a golden quadrilateral, and accordingly, by means of segments based on this aesthetic ratio, points can be determined to divide the surfaces in a proportion that is consistent and determined by a fixed engineering theory (Fig. 53).

½ of AB

B

1/2

A

(Fig. (53) A drawing that represents the principle of determining the ratio of 1.618. From above, we see the division of the sector in the extreme and medium way. The bottom drawing represents the creation of a golden quadrilateral from a square.

This golden ratio is due in nature to the kinetic proportions in the construction of snails (snails) and some soft animals, in the formation of the corolla of certain flowers, and in the balanced proportions of the human body.
An artist may have a great sense of beautiful proportions or balanced rhythms and find without calculating sensitive points for these formations, which confirms the value of these laws, especially if a person investigates them with dimensions that absorb great effort with ignorance of them. Hence arose a real legend that seems to have appeared from a long time ago. It appeared for the first time clearly in the book of the monk “Luca Pacioli (On the Divine Proportion), which appeared in the year 1509 and contains drawings of his friend, the great artist Leonardo da Vinci.” In it, we feel the presence of the anxiety of the Middle Ages and the Renaissance, the establishment of an art that agrees with the secret laws of harmony in the universe, as a result of a cosmic sense that we sometimes lack in our current era (Fig. 54).

M

y

M

Figure (54, a drawing representing Dan Titien) in the Louvre Museum. It is an example of building a structure based on the curves of a quadrilateral and on the sectors of the golden number. It is noted in the game of supporting curves in a billiard ball way to draw a rhythmic network with lines of force starting from a prominent point. This rule can be traced from the two squares on sides C. B

There is no doubt that many artists have had attempts since the sixteenth century to use this method to a less complicated degree than the degree previously used.. but we find in cases of the simplest method (cutting rectangles into squares and numerical division of musical scales into quartet intervals) and the credit for that is due to the lines The horizontal and vertical deviation that we find in the movements and stances of the human body, and all things in all assumptions and possibilities are subject to the principle of dimensions.
The three. Perspective drawing and compositional lines always unite, because each composition (formal or visual) does not take any deep value for it except with its harmonious balance (an abstract shroud). On the part of Poussin, in his rhythms of the Dorian style (with the famous triangle of harmony) and the free one, he used multi-sections in relation to the golden sector, and he left the Lydien style or style the necessary freedom to take advantage of the similar drama, which is one of the followers of the plastic emotion. This research influenced many contemporaries or modernists, such as Andre Lhote, A. Lhote and Mondrian, and they were driven by the hope of rediscovering the abstract network of the laws of harmony in the universe.

Zaising came up with a theory that is considered the most accurate theories to solve the secret of the proportions of the human body and to know its dimensions relative to each other. I published a word about this theory in my book on Proportions and Motion in Drawing Faces and Bodies, which was published in 1945

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Draw a right-angled triangle

whose base is equal to the height, p, and then centered with a leg at the vertex of the triangle at

Its narration is 60 degrees and defines the point of intersection of P with the string. By concentrating on the vertex of the triangle and turning the previous point of intersection until it meets the vertical side, its height “p” is divided into two dimensions “x” and “y”, so if we consider the height of a person’s stature. P, and we divided it and its parts into proportions, respectively. We can identify all the main and subsidiary centers of body movement. Also, if we focus on those centers and draw the circles tangential to the horizontal dividing lines, we can determine its total circumference and its transverse dimensions.. On this basis, the human skeleton can be drawn and its dimensions determined on a fixed basis with geometric lines.. We also find at the same time that the proportions between the different parts of the human body follow A fixed ratio is the golden ratio or the complete aesthetic ratio (Fig. (55).

Moduler says, “Lecoeur Bouzier, that in order for the art of photography to be a true art, it must be based on fundamental foundations.. And “Lecoeur Bouzier” was searching throughout his life for a rule or law that defines the use of organized dimensions, and he was of his opinion that every rule of law is linked to a rule of life. So it was a system. Moduller, (meaning equidistant parts) is a beautiful expression of what Tokur Bouzier meant in his speech. I explained his theory in my book on Leukor Bouzier, which was published in 1966. I explained his research findings after a study that lasted about twenty years, and it is somewhat similar The direction of the research "Zaising" previously explained, and what this great artist mentioned is that the men of music are the first to think about the development of artistic proportions, so they divided the voices on the musical scale so that they fit and harmonize with each other, and some scientists from the men of engineering, such as Pythagoras, helped them in that
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Figure (55) A drawing explaining the determination of the dimensions of the body according to the geometric divisions of the Zaising.

It is possible to clarify this saying in the musical language, so I say: The dimensions of the musical scale relative to each other are linked to aesthetic values ​​that are themselves equal to the musical dimensions of tones. Also, some tones carry a great deal of harmony with respect to each other, while others have a lesser degree of harmony, and instead we find something of dissonance. This compatibility or dissonance is subject to the ratios used in producing the sounds, and the simpler the proportions between the two sounds, the more compatible this is. This rule, which applies to harmonic proportions in polyphonic music, also applies to various plastic arts in the inevitability of the availability of an element of balance between the parts of the artwork linked by aesthetic proportions. As he says: Le Coeur Bouzier: “Beauty is proportions. Something that is my everything..and makes things smile..