Having become familiar with the basic concepts of the theory of architectural composition, we will consider various paper layout techniques, performing a series of exercises that are very popular, because demonstrate the unlimited possibilities of this accessible and simple material.
As noted above, horizontal and vertical divisions provide a larger palette for enriching the compositional solution. With their help, you can identify the nature of the form, its compositionally dominant part, emphasize the top and bottom of the composition, etc. In compositions that require a large number of divisions, it is desirable to combine them into groups according to some characteristic, since a large number of divisions, especially of the same type, are not visually perceived and create a texture effect; it is also necessary to remember that with the same size of groups of divisions, the composition turns into an ornament. Sometimes an excessive increase in the depth coordinate when developing a surface disrupts its frontality with possible subsequent transformation into volume.
The study of techniques for the plastic development of planes begins with vertical surfaces, for which the most typical are nuanced relationships between elements that form a slight surface relief. This type of composition suggests the possibility of creating it from one sheet of paper or cardboard. To do this, you need to make certain cuts and slits in it and bend them in the required directions. When making layouts in this way, one condition must be observed: you cannot completely cut out or remove sections of paper; The exception is small details that do not destroy the composition and correspond to the author's intention. If the finished work is restored to its original state, the rectangular sheet of paper should completely restore its original appearance.
In Fig. 53-56 simple vertical cuts and undercuts created the plastic wall. The main emphasis is on creating some image or mood.
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Another possible technical technique for depicting volume reveals plasticity due to the contours of light and shade. It is made from several layers of paper of different colors, glued on top of each other, emphasizing the characteristic details of the form (Fig. 59, 60). Here the geometric appearance of the form is emphasized through its metaphorical interpretation through the contours of the shadow. This method brings us closer to understanding the conventionality and abstractness of methods of expressing a compositional idea. 
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Independent work
Exercise 1. Surface development.
Purpose of the task. Study of some techniques for plastic surface solution;
- mastering methods of prototyping from one sheet of paper.
Task. Carry out a mock-up development of the surface according to the proposed sample (Fig. 61). 
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Methodical instructions. To complete the proposed task, you need to carefully study the drawing, remembering what each line represents. The densest lines are the places of through slots and the edges of the form along which the pattern is cut. Thinner lines indicate cuts on the front side, and dotted lines indicate cuts on the reverse (wrong) side of the sheet of paper. As mentioned above, to achieve greater cruelty in some works, you can make folded edges (flaps) on the reamers, that is, leave strips of paper 3-10 or more mm wide.
In our case, the use of such valves is quite justified, since... they provide stability to the front wall. The longer the flaps are, the stronger the design of the layout will be. In the diagram shown, the valves are indicated by shading, and the “break” line shows that their value is chosen arbitrarily. Note that in the drawing we deliberately do not show any dimensions; in each specific case, the choice of sizes and proportions depends on the author’s intention, and this allows for a creative interpretation of the given task. However, it is more convenient when the pattern fits on a standard A3 sheet. 
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Considering all of the above, let's proceed to the layout. It is advisable to adhere to a certain order:
- make a drawing,
- use a meter to pin the required points on the wrong side of the sheet,
- make cuts,
- make through slots,
- cut out the shape along the contour,
- erase pencil lines,
- bend the shape along the cut lines in the required directions.
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Only after this can you proceed to the final installation of the layout. To do this, you need to turn the side flaps to the wrong side and fasten them together with glue. To give the composition a finished look, it is advisable to use a sub-layout (base), which is a rectangle with edges bent down, small, no more than 5 mm thick (flaps can be used). If there is a sub-model, the side flaps of the main volume may be smaller, since the sub-model during installation increases the stability of the layout.
At the final stage of work, we apply glue to the lower end of the main volume, after which we finally connect it to the sub-layout (Fig. 62, 63):
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In the future, when drawing developments, we will adhere to the indicated notations, as well as recommendations related to the development of the layout and the sequence of its assembly.
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The attached photographs show other possible solutions for the front surface. It can have different depths
relief or counter-relief, both nuanced shades of light and clear gradations with clearly falling shadows, which depends on the applied divisions, rotations of individual parts of the sheet plane in different directions and their varying configurations. (Fig. 64-68).
Exercise 2. Plastic surface solution with volumetric elements.
Mission Objectives. Study of plastic techniques for surface development.
Tasks. Create a plane that is part of a volumetric structure using the proposed drawing (Fig. 69);
Methodical instructions. The technique and order of execution of the layout remain the same. However, the surface in this case has a greater depth of relief; an increase in plasticity allows it to be interpreted as volumetric-frontal. Therefore, to give greater stability when connecting the main volume and the sub-layout, additional valves are used, and the side flaps are fastened together at the back to fix the shape (Fig. 70-72).
In creative layouts (Fig. 73, 74) it is proposed to change the frequency of the slots, making changes to their rhythmic pattern, as well as to cut the planes of the elements and bend them in different directions, obtaining additional divisions, even more intense plasticity, and rich light and shadow gradation.
6.1.2 Development of surfaces using an order.
In architecture, the use of various division profiles has been known since ancient times and is called “breakdowns”. Sometimes educational models use formal motifs taken from works of architecture of different styles. Most often, classical order architecture is used, the main elements of which are columns ending with capitals of various shapes, cornices, with their constituent profiles, etc. In all its complexity, the topic “Architectural Orders” is studied by first-year students of architectural faculties; applicants are given only basic concepts, and they are used both in the drawing course (construction of the Ionic volute, entasis of a column, architectural fragments), and in the courses of layout and architectural graphics.
Let us give several examples of the development of the previously discussed surfaces and forms using order motifs. 
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Independent work.
Exercise 1.
In this task, the surface development is carried out using the motif of the Ionic capital - its volute (Fig. 75).
Please note that the drawing of the volute itself is taken either from classical samples, or is invented and drawn independently. An approximate diagram of the construction of such a volute is given in Fig. 76
The radii of its elements are selected empirically, based on the tasks set by the author, and are made using knowledge of the laws of conjugation. The designations on the drawings and the technology for creating the layout are similar to those described above. In Fig. 77 and 78 show the finalized versions of the composition.
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Exercise 2.
The difference from exercise 1 is that the parts that make up the composition are made separately and subsequently cut into one another, which ensures the most active mutual arrangement of the layout elements.
In such cases, a stage of sketch development of forms is necessary. The lines of their intersection must be immediately taken into account in the developments, which are carried out very carefully in order to avoid deformations during installation; in addition, it is necessary to take into account the thickness of the material (paper, cardboard), cutting the necessary grooves for the inserted planes.
The proposed layout is a fragment of a cornice formed by a combination of architectural profiles (breaks), in this case shelves and heels. In principle, a varied selection of elements is possible. In Fig. 79 shows developments of the components of the layout: side surfaces 1 and 2 into which the cornice is inserted, the cornice itself, where the “break” line and the arrow indicate that its length can be arbitrary, as well as separate drawings of planes C and D. They are components of the surfaces 1 and 2, which are glued together using a valve, forming a single surface. It is in planes C and D that the complex profile of the cornice is cut into. Since the insertion on one side is carried out at a right angle, and on the other - at an angle of 45°, the outlines of the slots in planes C and D are different. On plane D (rotated), the profile trace appears more elongated and should be constructed using drafting knowledge. To do this, characteristic points are transferred horizontally from plane C to plane D. Using the auxiliary straight line AB drawn on plane C, the increase in horizontal dimensions is determined. The height dimensions do not change. The selected points are projected onto straight line AB. The dimensions obtained on straight AB are transferred as horizontal to plane D. We glue the layout using the pattern samples (Fig. 80).
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Landscape
Architecture is an artificial environment created by man for himself. Man mastered natural landscapes, improved them and spatially transformed them. Of great importance for the future architect is the ability to plastically develop the horizontal plane of the layout - the sub-model. The sub-model serves as a model of the earth's surface. It can be performed as a conditionally flat surface or as a terrain relief.
In the first case, we determine the size of the sub-layout and at the ends of the EGS we make folds from 2 to 5 mm depending on the size of the surface and glue it at the corners so that we get a thin plate. In the second case, when it is necessary to display a complex terrain. We conditionally divide the relief into horizontal planes at equal intervals and mount them on top of each other.
There are many techniques for showing relief in a layout. Let's list some of them.
If the layout is made of thick cardboard and the relief is quite flat, then the relief planes can be glued to each other.
If the layout is made of paper and the relief angle is large enough, then it is better to make it from separate planes raised above each other. To do this, you can use strips of paper about 5 mm thick, folded like an accordion and glued to the edge. First, we apply PVA glue to one end side of the “accordion” and glue it to the cross-sectional surface, and then to the other, and place it on the base of the base. This method of showing the relief allows us to obtain a stepped surface of the base (Fig. 81).
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If it is necessary to create a smooth relief line, then proceed in a different way. Cut strips of paper in the form of horizontal lines of the required height and glue crumpled tracing paper or paper onto them. The horizontal lines themselves are glued in the manner described above.
It is advisable to start working on the layout with a pencil sketch, where you should draw the nature of the relief and think through the placement of all elements: main and secondary.
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When creating a relief as a complex volumetric-spatial composition (landscape layout), you should already have layout skills. The requirements for a landscape composition are the same as for a volumetric-spatial composition in general. Namely: the finished layout must have compositional integrity, expressiveness and imagery. In addition, the landscape layout provides for the organization of human movement.
The scale of the image in the layout can be conveyed using real objects such as trees, houses, paving, etc. (Fig. 82-84). In the conventional language of layout, elements of the environment take on the conventional form of an image.
Here are several techniques for making scale models of trees (Fig. 85-88). The shape of trees, bushes and other elements should emphasize the general artistic idea inherent in the image of the designed object.
Color helps express mood, shape of space, and organize movement. When choosing colors, it is preferable to use restrained shades and colors. Bright, artificially produced colors disrupt the scale of spatial forms.
Paving is depicted simply and naturally: cut pieces of paper imitating paving are glued directly to the base of the model.
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Shrubs are depicted as curved or folded many times, with pieces of paper placed on edge. You can trim the edges of the strips of paper with small cuts, then they will look more airy (Fig. 89).
Techniques for depicting trees are shown in Fig. 87-90. These layout elements are more about scale. The more detailed the trees are, the more they flesh out the landscape.
Planar ornaments
One of the most common examples of plastic surface development is ornament. When constructing ornaments, it is necessary to know the basic compositional laws (meter, rhythm, stop of the row, integrity of the composition).
The harmony and compositional integrity of a planar ornament is achieved through the use of techniques such as correlating the sizes of individual planes and the degree of their distance from the surface of the base. Planar ornaments are characterized by the use of individual planar elements or simple geometric bodies strongly embedded in each other with a small depth coordinate.
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Among the methods of prototyping techniques, three main options can be distinguished:
1. The layout is made by alternating internal and external folds (Fig. 91, 92). The plasticity of the frontal surface is achieved through various light-shadow gradations and is determined by the depth of the divisions of the ornament. Gradations of tone can have both clear shadows and nuanced light and shadow relationships. Division lines can form either a single ornament for the entire surface or a ribbon or centric ornament repeated at certain intervals. This type of ornament is usually made from plain paper.
2. The layout is made from flat geometric bodies, embedded or spaced from each other.
3. The layout uses mixed techniques of the above-described options (Figure 93).
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Each task begins with the development of a drawing of an ornament. You should use the knowledge and skills acquired in drawing classes. To make the layout look clearer, you need to choose the right material. Nuanced light-and-shadow relationships are read more effectively if the layout is made of textured paper.
Sometimes the ornament is cut out of paper of the same color and presented in the form of a collage against some background (Fig. 94).
The ornament can be raised to a small height or laid out on several levels. In this case, you can use the method of inserting geometric elements into each other.
It is necessary to think through the system of insets and the interaction of form elements with each other.
One of the options for depicting an ornament in layout may be the method of installing strips of paper on the edge.
Independent work
Exercise 1. Geometric ornament.
Purpose of the task. Master the technique of making a geometric pattern from one sheet of paper using cuts and cuts in the sheet. Develop three-dimensional thinking, study techniques for identifying surface plasticity, and expand your understanding of prototyping techniques.
Methodical instructions. The ornament can be rectilinear or curvilinear, consist of a number of repeating elements or be single. After the ornament is drawn, the lines that need to be scored on the back side of the sheet are cut with a meter. Then the ornament is completely cut out, the pencil is erased and the layout is bent along the lines of the notches.
Exercise 2. Geometric ornament from planes of simple shape.
Purpose of the task. Master the technique of constructing a geometric pattern from planes embedded or spaced from each other.
Guidelines. To make the ornament, use simple geometric shapes in the form of frames (squares, triangles, rectangles, circles).
The composition should convey the spatial order of arrangement of figures, and trace the original shape of each element.
Rocker surfaces
Surfaces in which the elements are parallel to each other and located in a limited space are called rocker surfaces. They are often used in the exteriors of buildings, for example, to solve long facades, and are made in a variety of materials.
The principle of “scenes” surfaces in paper layout borrows the technique of arranging the scenes on a theater stage. Backstage curtains are placed in parallel planes one after another.
Categories of this type of surface also include screens, various types of dividing partitions in exhibition halls and offices, etc. As a rule, they are mobile, not burdened with strong plastic development, although sometimes they have a complex silhouette.
As they move away from the audience, the images on the wings are made more and more generalized, with less detail and on a smaller scale.
The simplest version of the wings is a series of rectilinear or curvilinear figures, bent from the plane of the base by 90°. This is a transitional type of transformation of a plane into volume.
The execution of similar figures occurs in the following sequence. The planes are cut along the entire perimeter, except for the base. The bases are cut from the wrong side and the forms are folded along the cut line (Fig. 99). 
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Another method of creating rocker surfaces is to use several planes located one after the other at a short distance. This type of scaffolding surfaces makes it possible to create the effect of space receding into perspective in a relatively small area in depth.
The principle of constructing theatrical backstage sets is used when creating models with shallow relief. In Fig. 100, 101 show models of “paintings” of architectural landscapes.
The horizontal plane of the sub-layout in such works has a small width. The vertical basis of the layout is the most distant plan of the selected architectural landscape.
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At the same distance from the vertical base (“backdrop”), several parallel vertical “scenes” are made, on which fragments of the landscape are placed. The largest, most decorated, “elaborate” elements are placed on the first frontal plane in relation to the viewer. To attach the vertical planes to each other, paper “brackets” are used. They remove the backstage layers from each other by 5-15 mm, depending on the size of the layout.
If several shades of color are introduced into the “picture,” then the lightest tone is chosen to create the first frontal plane facing the viewer. As you move away from the viewer, the shade of the “scenes” becomes more saturated
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Independent work
Exercise 1. Glue together scenery models similar to those shown in Fig. 102, 103.
Purpose of the task. Learn techniques for prototyping rocker surfaces.
Methodical instructions. Make a template, draw and carefully cut out the development of each of the planes (it is possible to highlight them with color).
Assemble the layout. To do this, we install the planes embedded according to the plans on the sub-layout and glue them “on the edge”. 
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Exercise 2. Come up with and glue together a scenery model depicting a medieval square, embankment or monastery.
Purpose of the task. To study the principles of constructing rocker-type surfaces.
Methodical instructions. Select the plane silhouettes of individual buildings and arrange them sequentially as they move away from the viewer at a minimum distance from each other, as in the previous task.
Place the planes cut out according to the plans on the baseboard and connect them together perpendicularly with glued strips of paper folded in an L-shape.
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Exercise 3. Model-painting “city landscape”. Creative task.
Methodical instructions. The dimensions and proportions of the “picture” of the architectural landscape are chosen arbitrarily. The work begins with choosing an analogue of the architectural landscape - a photograph, a book illustration, a painting by a favorite artist. Next, use the recommendations given in exercises 1. 2.
Embossing on paper is gaining more and more popularity every day. This technique is used to decorate anything: notebooks, albums, scrapbooks, wall decor. The beauty of embossing on paper is that this simple activity can be done at home, and it does not require a lot of money. This method does not require any specific skills and is quite simple.
There are several home embossing technologies that you need to study to choose the most suitable one. Each technology includes the possession of certain tools: seals, stamps and relief stencils.
Most often, embossing on paper is used for scrapbooking. This exciting activity helps you decorate your photo archive or diary, or decorate your room. Recently, this type of needlework has become especially popular, because you want to preserve the pleasant moments of life in a beautiful form, with pleasant memorable little things, photographs and clippings.
The technique of embossing on paper will help needlewomen to design their creations in an original and individual way. Since this activity is quite simple, skills are acquired very quickly. In addition, you can create while sitting at home at your desk, or by setting up a special work area.
Types of embossing on paper:
- Crimper (a special roller device that allows you to emboss on any piece of paper at a time)
- Foil stamping (most common type)
- Using a laminator and foil
- Debossing (pressing technique)
- Embossing using the embossing technique (used primarily for embossing on cardboard, book bindings and other rigid materials)
Gallery: embossing on paper (25 photos)
Imprint on paper with foil
The easiest way to get a beautiful and high-quality drawing is do foil stamping. Gold embossing is the most popular today. To do this you will need gold foil. This material looks very beautiful and presentable, so it is most often used for decoration in the Empire style with its characteristic monograms and curls. This type of embossing is often used to design business cards, diplomas, diplomas and certificates.
The easiest way to make a foil print is to use a sheet of paper with text or a design, foil and an iron.
On the printer The desired text or design is printed. A sheet of foil of the required size is placed on the image. If you need to get a colored drawing, then the foil should be colored on one side, in which case it should be this side that faces up. Place paper with a foil blank and the tip of the iron on a flat, hard surface and carefully iron it. It is important to thoroughly heat the entire surface of the sheet over the foil, otherwise the image will not be printed well. You need to iron for 4-5 minutes, after which it is recommended to wait until the foil has cooled completely, and only then can you remove it from the design and admire the result.
Hot stamping can also be applied using special stamps or seals. To do this, the stamp (the main tool) must be heated strongly over an open fire and press the foil as much as possible onto the paper or any other material intended for embossing. After the procedure, all that remains is to remove the remaining foil from the finished product.
A convex pattern on leather, thick paper or cardboard can be made using a press or a special machine, which can either be purchased or made from heavy improvised materials. This method is very labor-intensive and requires special equipment, so it is difficult to perform at home.
Another quick way to create paper with an embossed foil design is to run a sheet of paper with the image and the foil on top through a laminator (without using any film, of course).
Paper embossing crimper
In some cases, it is impossible to make a relief on long paper manually using a print or stamp. Then it comes to the rescue special tool - crimper. The standard technique using stamps and small seals is not suitable in this case, since it is simply physically impossible to fully display a uniform relief print along the entire length of the sheet.
The main advantage of the crimper is the absence of restrictions on the length of the sheet, as well as ease of operation. However, there are also disadvantages:
One significant plus and a huge number of minuses discourage scrapbooking masters and craftswomen from using this tool to create their masterpieces. The creamer can be replaced embossed photo paper, which can be purchased and used in any photo salon.
You can also purchase or make your own embossing stencil, which will make it incredibly easy to emboss letters on paper.
Methodological goal- acquisition of practical skills in compositional and plastic modeling of complex surfaces using a given shaping technology.
Learning Objectives:
select paper with the necessary physical properties (flexibility, rigidity, elasticity, strength, tonal and texture uniformity, etc.);
find an interesting surface solution, repeating many geometric elements, using cutting and folding techniques as a shaping technology.
As a result, compositions should appear that have a rapport solution and represent a three-dimensional structure made of paper.
The geometric pattern of folds is carefully applied to the paper from the front and back sides. To ensure high-quality folding of the paper along the intended lines, light cuts are made in the upper layers of the paper on the front side if the fold is convex, and on the back side if the fold is concave (Fig. 1-9).
Fig.1. Fold patterns: solid line - light cut of the upper layers of paper on the front side; dotted line - on the wrong side.
Rice. 2. Examples of paper surface relief, made according to the diagrams in Fig. 1: 2a – view from the front side; 2b – view from the reverse side.
Fig.3. Fold patterns: solid line - light cut of the upper layers of paper on the front side; dotted line - on the wrong side.
Rice. 4. An example of the paper surface relief from the reverse side, made according to scheme 3a in Fig. 3.
Fig.5. Fold pattern: solid line – light cut of the upper layers of paper on the front side; dotted line - on the wrong side.
Fig.6. An example of the paper surface relief on the front side is made according to the diagram in Fig. 5.
Fig.7. Fold pattern: solid line – light cut of the upper layers of paper on the front side; dotted line - on the wrong side.
Fig.8. Fold pattern: solid line – light cut of the upper layers of paper on the front side; dotted line - on the wrong side.
Fig.9. Fold pattern: solid line – light cut of the upper layers of paper on the front side; dotted line - on the wrong side.
