The architect's font belongs to which group. Architectural fonts: varieties and scope

The font of the architect consists of uppercase (capital), lowercase letters and numbers. The capital letters of the architect's font are based on a square, the side size of which is chosen depending on the height of the letters required for the inscription. Let's conditionally denote it b. The size of the side of the square (b) is divided into 9 parts and 1/9 part is taken as the module m. For example, you want to make an inscription or a letter 25mm high, so b = 25mm, and m = 25: 9 = 2.8mm. Module m is also the width of the main rack. The width of the thin elements of capital letters is assumed to be 1/3 of the modulus m. The semicircles of the letters at the junctions with the post have a width of 1/3 m, and in their wide part they should be equal to the module. The centers of the arcs can be found using additional horizontal and vertical lines.

Figure 16 (a, b, c, d, e) shows the construction of capital letters of the architect's font. It must be remembered that not all letters have a width equal to b, such letters as B, C, D, E, Z, R have a width of 2/3 b, and the letters W, W, W, Yu by 2 - 2.5 modules over base size b.

Figure 17 shows the construction of the lowercase letters of the architect's font. For ease of construction, a linear grid is used, which shows that the entire height of the letter with a ledge is divided into five parts, and the height of the main part of the letter is taken equal to three parts. Half of one division is taken as the width of the main rack. The width of the thin element is taken equal to ½ of the width of the main rack.

Figure 18 shows the construction of numbers in this font. A linear grid is also used here, which makes it easier to understand the construction of each figure. The base is a square shape with side size b. Modulus m (the width of the main rack, the widest parts of the numbers) is also equal to b / 9. The thin parts of the numbers have a size of m / 3. The transition from thickening to thinning in the elements of figures occurs smoothly with careful selection of the necessary radii.

Rice. 16a Capital letters of the architect's font

Rice. 16 b Capital letters of the architect's font (continued)

Rice. 16 in Capital letters of the architect's font (continued)

Rice. 16 g Capital letters of the architect's font (continued)

Rice. 16a Capital letters of the architect's font

Rice. 16 b Capital letters of the architect's font (continued)

Rice. 16 in Capital letters of the architect's font (continued)

Rice. 16 g Capital letters of the architect's font (continued)

Rice. 16 e Capital letters of the architect's font (continued)

Fig. 17 Lowercase letters of the architect's font

Rice. 18. Numbers of the architect's font

Exercise #4

"Measurement of an architectural detail"

Practical familiarization with the technique of architectural measurements is a necessary step in the preparation of a specialist architect. Along with the acquisition of professional skills, fixing the perception of an architectural object from its images, a specific acquaintance with an architectural structure, its elements and structure in their relationship, an exercise in measuring an architectural detail helps prepare students for measuring practice, as well as developing the skills and abilities of research work .

The purpose of the exercise is an acquaintance with the methods of depicting a three-dimensional form in orthogonal projections (plan, facade, section), the study of details and architectural profiles (breaks), the patterns of their construction on examples of classical architecture.

Work begins with the implementation of sketch drawings, which are called krokami; the sketch is done by hand by eye without the use of drawing tools in compliance with the basic proportions. Dimension lines are applied to the drawing and all necessary dimensions are affixed. In order for the sketches to more accurately reproduce the proportions of the measured part, preliminary measurements of the main dimensions are allowed.

· Kroki are issued in the form of an album and are handed over together with the final submission of the exercise.

Measurements are carried out depending on the nature of the part in one of the following ways: a) the method of coordinates; b) serif method, system of triangles.

· Dimension lines are arranged in the form of chains, without cluttering the drawing, ranging from small, more detailed, ending with general dimensions and are put down in millimeters.

· When choosing a non-standard scale, it is necessary to use a scale bar.

Measurement drawings in the final form are drawn up on a tablet measuring 75x50cm, covered with whatman paper (Fig. 22)

Materials and equipment:

1. Architectural detail.

1. Ruler, triangles, protractor, soft wire, pencils, eraser, rapidographs, compasses.

When measuring simple architectural details, they use a coordinate system (Fig. 19), marking characteristic points on the sketch; then determine their coordinates with respect to the selected axes x, y, z.

Rice. 19. Measuring a part using the coordinate system method

The obtained coordinates are entered in the table.

No. p / p	X	At	Z
point 1
point 2
Point 3, etc.

When measuring parts that have a complex shape, the so-called serif or triangulation method is used (from the French "triangle" - a triangle). To do this, mark the reference points A and B, measure the distance between them, and from each make measurements to the characteristic points. With the help of serifs, a system of triangles is obtained, which allows you to depict the measured part (Fig. 20, 21).

Rice. 20. Measuring a part using serifs or triangles

Rice. 21.Measuring the currency of an Ionic capital using a triangle and a ruler

Rice. 22. Examples of the exercise

Exercise number 5

“Composition from profiles of classic orders. Architectural breaks»

Order(from the Latin "ordo" - order) - this is the arrangement of the structural parts of the structure, in which the rational distribution and interaction of the bearing and load-bearing parts has received a certain form that meets the practical and artistic purpose of the structure. In its individual details, the order is processed by plastic forms, which are called breaks or profile elements.

bummers- these are elementary plastic forms that differ in the outlines of their profile (cross-section) and are the simplest components of the details of architectural orders (Fig. 23, 24).

Vignola(Vignola) - the real name of Barozzi (Barozzi) Giacomo (1507-1573), Italian architect, theorist and practitioner, compiler of the collection "Rules of Five Orders of Architecture" (1562).

Palladio(Palladio) - the real name of di Pietro (di Pietro) Andrea (1508-1580), Italian architect, representative of the late Renaissance. He creatively comprehended the order system, wrote the treatise "Four Books on Architecture" in 1570.

The breaks of the Vignola and Palladio orders are geometrically divided into:

1. Rectilinear - shelf, shelf, belt,plinth.

2. Curvilinear simple (described from one circle) - roller, shaft (torus), quarter shaft (direct and reverse), fillet (direct and reverse).

3. Curvilinear complex (having two curvatures, most often directed in different directions) - goose (direct and reverse), heel (direct and reverse), scotia (an element representing a convexity of various curvature and found in the bases of columns of the Ionic and Corinthian orders).

Bummer called direct if it expands upward, reverse- if it expands downwards.

There are combinations of 2 connected elements. One of these, consisting of roller and shelves, was named astragalus; other combination - shelf and heel, although it is common, it does not have a special name. In all orders, the main elements alternate with the secondary ones, wide with narrow, curvilinear with rectilinear - this is the main rule of profiling.

It should be noted that if in the Roman version in the orders curvilinear profiles were made up of parts of a circle, then in Greek architecture they, as a rule, were curves of the second order - ellipses, hyperbolas, parabolas.

Along with the usual set of curvilinear profiles - cymatias(goose and heel), fillets and rollers - there were special profiles that took into account in their drawing their position in shady places, such as, for example, the profile of the so-called "crow's beak".

In order details, breaks perform various compositional functions:

1. Supportive.

2.Supported or crowned.

3. Binders.

4. Dividing.

Heel and quarter shaft, having strong, elastic outlines, are more often used as supporting forms, goose with its shapes facilitating from bottom to top is the final element, filet has the function of a connecting element.

Usually the breaks were decorated with picturesque ornaments in the Doric order and in relief - in the Ionic. Yes, doric cymatium usually decorated with a simple leafy ornament: goose- an ornament consisting of lotus and palmette motifs; heel- heart-shaped leaves with tongues or arrows between them; quarter shaft, convex facing down and other convex profiles - ionics; astragalus- beads, pearls. In the case when the profiles were decorated with ornaments, the latter always corresponded to the outline of the profile and its position in the overall composition.

Objective: the study of architectural orders, the assimilation of knowledge about architectural breaks. Mastering the graphic image of breakages, composition skills, improving the skills of students in mastering architectural graphics.

The font is an important component of any drawing, it helps to convey information that is impossible to convey in other ways. This is a kind of skeleton, the basis for further work. Therefore, while medical students study textbooks on anatomy, students of architectural and construction universities have to disassemble each letter by bones.

Fonts in architectural and construction drawings

There are many types of fonts and design options for drawing work. You need to understand exactly where this or that style is best applied. In architectural and construction drawing, this is especially important, because the font complements any image.

Narrow architectural font

A simple and discreet narrow architectural typeface fits perfectly into any project. It does not have a division into uppercase and lowercase letters, in addition, the elements do not have a slope. This type of font is the most elementary in writing, which explains its popularity. It does not have strictly established sizes, but there are certain proportions that must be observed:

the ratio of the width of the letters to its height should be equal to 1/4÷1/6;
between adjacent elements, the distance should not be less than their width;
the spacing between words is at least twice the width of the letters;
symbols: W, Y, W, M, W, Y - one and a half times wider than the rest.

Cursive

This is another type of font that is sometimes used in works. For its image, you do not need to use special tools, that is, it is drawn by hand. A handwritten font is recommended when you need to write small numbers or letters (less than 7 mm high), then using a ruler is simply impractical and time-consuming.

Architect Font

Unlike handwritten, the architect's font is made with the help of drawing tools. It is used for inscriptions on architectural drawings, it is considered the most beautiful and has, among other things, a decorative function.

The architect's font contains both uppercase and lowercase letters. For ease of construction, symbols are entered into a square, and then they are built according to proportions. The height of the letters is usually taken equal to 1/20 - 1/30 of the size of the image: details or structures.

How to make an inscription on the drawing?

In order for the inscription on the drawing to look organic, you need to choose a place for its placement and a font size. It is necessary to take into account the scale of the image, the nature of the drawing, the type and thickness of the lines. The inscriptions should not dominate and attract undue attention to themselves, they only complement the work.

The font is a lifesaver for engineers, builders and architects. It facilitates the understanding of the drawing and allows you to convey all the necessary information about the object.

Ministry of Education and Science of the Russian Federation

Federal State Budgetary Educational Institution of Higher Professional Education

Tomsk State University of Architecture and Civil Engineering (TGASU)

BUILDING FONT: LATIN (according to the method of Leon Battista Alberti),

ARCHITECT (according to the method of Geoffroy Tory)

Guidelines for course design

Compiled by K.V. Chernobaeva

Tomsk 2012

Construction of fonts: Latin (according to the method of Leon Battista Alberti), architect (according to the method of Geoffroy Tori): guidelines for course design / Comp. K.V. Chernobaev. - Tomsk: Publishing House Vol. state architect.-builds. un-ta, 2012. - 38 p.

Reviewer arch., associate professor E.N. Polyakov Editor E.Yu. Glotova

Guidelines for course design in the discipline "Methodology of architectural design" for students studying in the areas of bachelor's training 270100 "Architecture", 270300 "Design of the architectural environment" and 270200 "Restoration and reconstruction of architectural heritage" full-time education.

Printed according to the decision of the methodological seminar of the Department of Theory and History of Architecture No. 2 dated November 17, 2011.

Approved and put into effect by Vice-Rector for Academic Affairs V.M. Jubo

from 01.09.2012 to 01.09.2017

Signed for publication on 29.03.12.

Format 84×108/16. Offset paper. Headset Times. Uch.-ed. l. 3.36. Circulation 140 copies. Order No. 175.

TGASU Publishing House, 634003, Tomsk, pl. Salt, 2. Printed from the original layout in the OOP TGASU.

634003, Tomsk, st. Partizanskaya, 15.


INTRODUCTION
	HISTORY OF THE DEVELOPMENT OF THE TYPE
	1.1. Ancient Greek writing (VIII - IV century BC)
	1.2. Roman monumental writing (II - I century BC)
	1.3. Roman classical writing (late 1st century BC - 1st century AD)
	1.4. Typeface in the Renaissance (beginning of the 14th - last quarter of the 16th century)
	1.5. The influence of writing technology on the formation of the Latin typeface
	BUILDING FONT

	2.1.1. Latin script
	2.1.2. Architect Font
	2.2. Fundamentals of type composition

APPENDIX

INTRODUCTION

Font (from German Schrift ← schreiben - to write) - a graphic drawing of the lettering of the letters from the signs that make up a single stylistic and compositional system, a set of characters of a certain size and pattern. This is an artistic interpretation of the alphabet, the letters of which have a common pattern of their styles.

An architect needs to acquire certain graphic skills in making fonts, develop a sense of proportion, balance, rhythm in order to correctly use the font in his work.

The basis of the font composition is always the letter with its characteristic general forms and proportions. In this case, the same laws apply as in architecture, where the main compositional solution of a structure in masses is the main one, and decorations and decoration are among the elements that must be linked to and subordinated to the general solution.

When making inscriptions on engineering or architectural projects (drawings), most often they use the font of the architect or the Latin font. These are classic fonts, the letters and numbers of which are distinguished by rigor and elegance.

Font composition can be as expressive as an artistic or architectural work. With its help, you can convey a certain atmosphere, mood, make the necessary impression on the viewer.

1. HISTORY OF THE ORIGIN OF THE FONT

1.1. ancient greek writing

The primary source of the Latin and Slavic alphabets was the Phoenician alphabet, the first lettero-phonetic letter (Fig. 6). From the southeastern coast of the Mediterranean, the alphabet spread to the areas inhabited by the Greeks. Greek writing developed in the 8th century. BC e. in the era of Homeric Greece and the Greek archaic. By this time, Greek mythology had already developed. Having adopted the Phoenician alphabet, consisting of 22 consonants and semi-consonants, the Greeks transformed it, introduced additional letters to more accurately convey the features of the Greek language. The Greek alphabet consisted of 26 characters. At the initial stage of the development of writing, there were no vowels in the alphabet, so the texts of the early Greek archaic are difficult to read. Independent vowels were introduced later, which became an important stage in the development of writing. The main materials for book writing were papyrus and a reed flat pen, later wooden boards coated with a layer of wax began to be widely used in everyday life. They wrote on the boards with a copper rod - a stylus, which was sharp on one side - for writing, on the other wide - for smoothing down what was written. Inscriptions were also made on the stone with a chisel. The direction of writing in the Greek archaic at the beginning, like that of the Phoenicians, was from right to left. Then the Greeks moved on to a writing method called "boustrophedon" (from the Greek "bus" - "bull" and "stropho" - "I turn"); with this method, the lines (like a bull on arable land) went alternately - now from right to left, then from left to right (Fig. 1). Still later, from the 4th c. BC e., the Greeks switched to writing from left to right (Fig. 2, 3). In connection with the change in the direction of writing, the Phoenician letters seem to be turned over by the Greeks. In archaic writing, the font line was not strictly horizontal, the signs were not placed on one line and were of different sizes.

Rice. Fig. 1. Ancient Greek inscriptions found on the island of Thera (VIII - VII centuries BC): 1 - direction of writing from right to left; 2 - writing with "boustrophedon"

Rice. 2. Draw an ancient letter on a lead plate from Olbia around the 5th century. BC e. (Vinogradov Yu.G. The most ancient Greek letter from the island of Berezan // Bulletin of ancient history. 1971. - No. 4 .; Fig. 3). Direction of writing from left to right

In the future, the Greek letter breaks up into several varieties, which differed partly in alphabetical composition, but mainly in the form of some letters. The most important of them - East Greek script, used in Eastern Greece and on the coast of Asia Minor, and West Greek script used in the Peloponnese, Sicily and Italy. Western Greek writing was supplanted by Eastern Greek, but on its basis arose Etruscan and Latin writing. Based on the Eastern Greek writing at the beginning of the 5th century. BC e. formed in Athens "classical" Greek writing(Fig. 4, 6); gradually it became the only system for all of Greece, and later for Byzantium.

Font compositions in Ancient Greece were placed on memorial steles, on marble slabs, on which numerous decrees and resolutions were written. In Greek necropolises, slabs from graves have been preserved, where words of praise to the deceased are placed. Inscriptions are also found on the pedestals of individual sculptures and monuments. The ancient Greek script is unusually simple - it is built with clear lines of uniform thickness, which form simple geometric shapes (circle, triangle, arcs).

Rice. 3. A fragment of a Greek inscription on a marble slab (the ancient Greek city of Tyra) with a mention of some temple (Samoilova, T.L. New data on cults and ancient cult buildings in Tire / T.L. Samoilova, V.M. Cojocaru // Northern Black Sea region in ancient times. - Kyiv, 2002. - P. 112)

Rice. 4. An example of Greek inscriptions on a stone slab: 1 - "The oath of the citizens of Chersonesus" on a slab of white marble, III c. BC e. (left); 2 - "Fragment of the decree on the Napit fortress" - Chersonese, end. 2nd century BC e. (on right)

1.2. Roman monumental writing

	ROME in the 2nd century BC e. becomes the center of the world
	the howling of the power, here arises an architecture characteristic
	in scope and colossal proportions. Rome-
	monumental writing was an integral part
	architectural structures that embodied the power
	Rome - triumphal arches, temples, columns. Signs la-
	the tinian alphabet developed along with the development of the ve-
	personal architectural structures, not yielding
	them in monumentality.
	Initially, the letters of the Latin alphabet
	they repeated the Greek ones, then their outline was specified
	elk (Fig. 6). The main, historically established es-
	the thetic characteristic of the Latin minuscule is
	variety of characters in the alphabet. Separation of signs
	letters into wide and narrow already happened in Greek
	archaic. In monumental writing, this division is not
	falls into the category of an aesthetic concept. In the era of
	Numental writing development of the alphabet and technology
	cal improvements in stone processing led to
	the appearance of horizontal serifs in characters. Idea for
Rice. 5. Inscription dedicated to	serif becomes apparent when the font line
Romulus, founder and first	lies between horizontal lines. Burn-
king of Rome	umbrella serifs have become more accurate to “hold” the line

font and leveled the height of the characters (Fig. 5).

The origin of Latin and Russian letters from the Phoenician and Greek alphabets

Phoenician letters		Greek alphabet		latin
	Name		Name

End of table

Phoenician letters		Greek alphabet		latin
	Name		Name

In all large cities, following the example of Rome, forums, basilicas, triumphal arches, theaters and baths are being built. The order system is now most often decorative. Inscriptions during this period are successfully assembled on triumphal arches, on tombstones, on the facades of temples. Most of the letters in the Latin alphabet retained their Greek meaning and style. If the Greek inscriptions were made with letters having the same thickness, then in Latin inscriptions the letters appear with different thicknesses of the main and auxiliary strokes. During this period, a new detail was formed in fonts - serifs (a transverse stroke that completes the stand of a letter), the appearance of which was due to the technique of carving letters on stone.

1.3. Roman classical script

Roman classical writing develops at the end of the first century BC. e. during the era of the Roman Empire. The Latin script acquired its greatest completeness by the 2nd century AD. e. In the first century AD, the book takes on the modern form of a codex, and a scroll existed in parallel until the 4th century.

Now researchers have come to the conclusion that the ancient Roman master did not draw the type with a ruler, compass and other accessories, but wrote them with a flat, wide-ended brush or two connected sticks; this explains the fact that the same letters occurring on the same line have different spellings. Given the perspective, the letters of the upper rows were made slightly larger than the letters in the lower rows. The Romans did not distinguish between lowercase and uppercase letters. There were no spaces between words, but a dot in the middle of the line height. However, the mason artist was already making sure that the endings of the lines fell on the same line. This is an example of the main and original form of the Latin script - capital font (translated from Latin

- big, main). This font is also called majuskul, which translates as “somewhat larger”, because it consists exclusively of uppercase (large) letters. Mayuskul is, first of all, the font of solemn inscriptions carved on columns, on triumphal arches, on walls. Its task is to keep important sayings, legislative acts and the names of rulers for public viewing and for a long time. The lines were made of different heights: the name of the emperor, his titles and merits were written in a larger size. This font was carefully and slowly carved on stone slabs along a predetermined contour.

In the city of Rimini in honor of the emperor Caesar Augustus in 27 BC. e., after the construction of the road between Rome and the Adriatic coast, the oldest triumphal arch in northern Italy was installed (Fig. 6). There was an inscription on the attic (Fig. 7):

SENATVS POPVLVSQVE ROMANVS IMPERATORI CAESARI DIVI FILIO AVGUSTO IMPERATORI SEPTIMO 3 CONSULI SEPTIMO DESIGNAT OCTAVOM VIA FLAMINIA ET RELIQUEIS CELEBERRIMEIS ITALIAE VIEIS CONSILIO ET SUMPTIBUS EIUS MUNITEIS

Translation: "The Senate and the people of Rome to Emperor Caesar, son of the Divine, Augustus, emperor for the seventh time, consul for the seventh time, elected for the eighth time, since the Via Flaminius and other major roads of Italy were strengthened by his decision and at his expense." Only part of the inscription has survived.

Rice. 6. Arc de Triomphe of Augustus (27 BC)

Rice. 7. Dedicatory inscription on the architrave of the triumphal arch of Augustus

In 81, after the death of Titus, in memory of the capture of Jerusalem in 70, Domitian built the Triumphal Arch of Titus (Fig. 8). This single-span arch is located on the ancient Via Sacra, southeast of the Roman Forum. A dedicatory inscription was placed on the attic of the arch, which reads (Fig. 9):

SENATVS POPVLVSQVE ROMANVS

DIVO TITO DIVI VESPASIANI F(ILIO)

VESPASIANO AVGVSTO

What is in translation: "The Senate and the people of Rome (dedicate or erected this arch) to the divine Titus Vespasian Augustus, son of the divine Vespasian." This is one example of Roman classical writing.

Rice. 8. Triumphal Arch of Titus (Rome, 81)

Rice. 9. Inscription on the triumphal arch of Titus

The font of the architect consists of uppercase (capital), lowercase letters and numbers. The capital letters of the architect's font are based on a square, the side size of which is chosen depending on the height of the letters, which is extremely important for the inscription. Let's conditionally denote it b. The size of the side of the square (b) is divided into 9 parts and 1/9 part is taken as the module m. For example, you want to make an inscription or a letter 25mm high, so b = 25mm, and m = 25: 9 = 2.8mm. Module m is also the width of the main rack. The width of the thin elements of capital letters is assumed to be 1/3 of the modulus m. The semicircles of the letters at the junctions with the rack have a width of 1/3 m, and in their wide part they should be equal to the module. The centers of the arcs can be found using additional horizontal and vertical lines.

Rice. 16a Capital letters of the architect's font

Rice. 16 b Capital letters of the architect's font (continued)

Rice. 16 in Capital letters of the architect's font (continued)

Rice. 16 g Capital letters of the architect's font (continued)

Rice. 16 e Capital letters of the architect's font (continued)

Fig. 17 Lowercase letters of the architect's font

Rice. 18. Numbers of the architect's font

Exercise #4

"Measurement of an architectural detail"

Practical familiarization with the technique of architectural measurements is an extremely important step in the preparation of a specialist architect. Along with the acquisition of professional skills, fixing the perception of an architectural object from its images, a specific acquaintance with an architectural structure, its elements and structure in their relationship, an exercise in measuring an architectural detail helps prepare students for measuring practice, as well as developing the skills and abilities of research work .

Work begins with the implementation of sketch drawings, which are called krokami; the sketch is done by hand by eye without the use of drawing tools in compliance with the basic proportions. Dimension lines are drawn on the drawing and all the necessary dimensions are put down. In order for the sketches to more accurately reproduce the proportions of the measured part, preliminary measurements of the basic dimensions are allowed.

· Kroki are issued in the form of an album and are handed over together with the final submission of the exercise.

· Measurements are implemented depending on the nature of the part in one of the following ways: a) the method of coordinates; b) serif method, system of triangles.

· Dimension lines are arranged in the form of chains, without cluttering the drawing, ranging from small, more detailed, ending with general dimensions and are put down in millimeters.

· When choosing a non-standard scale, it is extremely important to use a scale bar.

Measurement drawings in the final form are drawn up on a tablet measuring 75x50cm, covered with whatman paper (Fig. 22)

Materials and equipment:

1. Architectural detail.

1. Ruler, triangles, protractor, soft wire, pencils, eraser, rapidographs, compasses.

When measuring simple architectural details, they use a coordinate system (Fig. 19), marking characteristic points on the sketch; then determine their coordinates in relation to the selected axes x, y, z.

Rice. 19. Measuring a part using the coordinate system method

The obtained coordinates are entered in the table.

No. p / p	X	At	Z
point 1
point 2
Point 3, etc.

Rice. 20. Measuring a part using serifs or triangles

Rice. 21. Measuring the currency of an Ionic capital using a triangle and a ruler

Rice. 22. Examples of the exercise

Exercise number 5

“Composition from profiles of classic orders. Architectural breaks»

Order(from the Latin "ordo" - order) - ϶ᴛᴏ the order of arrangement of the structural parts of the structure, in which the rational distribution and interaction of the bearing and load-bearing parts received a certain form that meets the practical and artistic purpose of the structure. In its individual details, the order is processed by plastic forms, which are called breaks or profile elements.

bummers- these are elementary plastic forms that differ in the outlines of their profile (cross-section) and are the simplest components of the details of architectural orders (Fig. 23, 24).

Vignola(Vignola) - the real name of Barozzi (Barozzi) Giacomo (1507-1573), Italian architect, theorist and practitioner, compiler of the collection "Rules of Five Orders of Architecture" (1562 ᴦ.).

The breaks of the Vignola and Palladio orders are geometrically divided into:

1. Rectilinear - shelf, shelf, belt,plinth.

2. Curvilinear simple (described from one circle) - roller, shaft (torus), quarter shaft (direct and reverse), fillet (direct and reverse).

Bummer called direct if it expands upward, reverse- if it expands downwards.

There are combinations of 2 connected elements. One of these, consisting of roller and shelves, was named astragalus; other combination - shelf and heel, although it is common, it does not have a special name. In all orders, the main elements alternate with secondary ones, wide with narrow, curvilinear with rectilinear - ϶ᴛᴏ the main rule of profiling.

Along with the usual set of curved profiles - cymatias(goose and heel), fillets and rollers - there were special profiles that took into account their position in shady places in their drawing, such as, for example, the profile of the so-called "crow's beak".

In order details, breaks perform various compositional functions:

1. Supportive.

2.Supported or crowned.

3. Binders.

4. Dividing.

Portal for the student. Self-training

Fonts in architectural and construction drawings

Narrow architectural font

Cursive

Architect Font

How to make an inscription on the drawing?

ARCHITECT (according to the method of Geoffroy Tory)

Compiled by K.V. Chernobaeva

Tomsk 2012

Construction of fonts: Latin (according to the method of Leon Battista Alberti), architect (according to the method of Geoffroy Tori): guidelines for course design / Comp. K.V. Chernobaev. - Tomsk: Publishing House Vol. state architect.-builds. un-ta, 2012. - 38 p.

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