Forms of a connecting mesh of ornamental stained glass canvases

Abstract

The article analyzes the properties necessary for the design of a two-dimensional ornamental stained glass by means of a comparative analysis of the proportions of two-dimensional geometric forms in accordance with the visual perception. The simplest form of stained glass canvas is known as ornamental filling. The most important element of it is a cell of a connecting net, both from a technical and aesthetic point of view. Its size is fundamental. Based on the geometric constraints, the glass part can not be more than 30 cm. It is also not advisable to design a cell less than 8 cm.  Between 8 cm and 30 cm is quite a big difference, so you need to analyze the criteria by which in each case the technology should choose the size of the glass part. Since critical limitations are already given, in this case, only the aesthetic side affects. If the stained glass is small in size, then, of course, the glass part should be smaller. But how much? There are two other factors here. First, the style of ornamental filling, that is, the geometric figure of the cell. Secondly, the proportions of the canvas. This factor directly affects the size of the glass part, as it is known from the preceding sections, the most proportional relations of the sides of the connecting element cell are associated with aesthetic requirements and can not vary with the overall ratio of the sides of the stained glass. That is, to achieve an equal number of glass parts only the scale of the cell changes. For example, take Circulos ornamental filling. This example clearly illustrates that, whatever aspect ratio the stained glass could have been, the circle should remain in a circle. Let's consider three examples of proportional relations of a stained glass window. Square, a classic rectangle and a very long rectangle. Comparing different sizes of the cell, it becomes clear that added another aesthetic factor - the number of rows of glass elements. Even without the use of mathematical regularities, so to speak "on the eye", one can see that the excessive number of rows looks, so to speak, "crushed". Also, it does not seem appropriate to use one or two rows. Obviously, the basis of the aesthetics of the stained glass canvas are certain geometric patterns.The user of computer technology should not know all this professional material, because this is one of the advantages of such a system, when a designer or painter who does not have practical experience in creating and designing stained glass can create a professional project ready for implementation, having exclusively artistic intention. In the case of the practical implementation of technology in the form of an automated computer system, all this material should be involved in the databases of the system. This review may be useful not only in the case of creating a specialized database, but also for users of the future computer system. Practical and historical references can be useful to designers and artists and students in these specialties.