External signs of the structure of the material from which the object is made, observed on the surface. Most often, wood and fabric products are characterized by texture (pattern). Various textures are used like decorative element when developing a product. Avoid texture unusual for the material, for example, imitation of plastic under a tree, etc. The pattern of wood texture changes depending on the direction of its processing, that is, from the cutting plane - radial, tangential, radial-end, tangential-end. Color plays a significant role in revealing texture, especially the difference (contrast) in the natural color of the wood grain.
Texture and texture are active agents artistic expression... The effect of texture and texture is used primarily in order to convey the natural qualities of the material, to reveal its aesthetic originality. If the texture or texture of the material is very expressive, then their effect on the observer can be stronger than the effect of the very shape of the product. Excessive flashiness in texture or texture can be unpleasant, however. The texture and texture of surfaces should be selected taking into account the size of the product and the size of the space in which it will function.
Colour- the property of bodies to cause a particular visual sensation in accordance with the spectral composition of the reflected or emitted light. Color has such basic characteristics as hue (different shades of color), saturation (degree of brightness of a color), lightness (reflectivity of a color surface).
Properties of volumetric-spatial forms
The value is the ratio in terms of spatial extent - the height, width and depth of volumetric-spatial forms and their parts. On the basis of these ratios, proportions arise as harmonious relationships of parts with each other and with the whole.
When studying the composition of the volumetric-spatial form greatest value has the development of perception and understanding of the relationship of quantities n arising from them such phenomena as visual dynamics, subordination, strengthening of plp, weakening of massiveness, etc. Relationships further; horizontal - above, to the right, to the left. Surfaces can take various positions, all kinds of turns and tilts at different angles, that is, an infinite number of options for the ratios of only two surfaces by their position in space are possible. Form, as such, and its changes: by type (linear, planar, volumetric); according to the geometric structure (parallelepiped, cylinder, cone, ball, etc.). In the indicated two directions, especially in the second, many variants of relations are possible (plane-curvilinear, convex-concave, different degrees curvilinearity, etc.) (.
The position of forms in space is the ratio of forms and their elements in relation to the viewer and the coordinates of space. This category is completely different from magnitude and magnitude ratios. Considering, for example, a flat surface, we can distinguish such coordinate positions as horizontal, vertical, frontal and vertical profile. In relation to the viewer, these positions can change: frontal - closer, lower; vertical profile
Many architectural theorists (Vitruvius, Alberti, Palladio, etc.) wrote about proportions as a means of composition in the past, mainly linking proportions with the order system. In recent times, a number of theorists have developed geometric methods of proportioning (Hembidge, Geeka, Messel, Corbusier, etc.). The Soviet architect I.V. Zholtovsky with which countless intermediate states in terms of massiveness and spatial properties are possible. One limit - the form is maximally filled with mass (or expressed as such); another limit - the form is expressed minimum amount masses. In addition to the four specified basic properties, which mainly determine the nature of the form, it is necessary to indicate the following properties: Texture, or the structure of the surface of the form, which can vary from relief to smooth, polished and mirror-like. Chiaroscuro, as the degree of illumination and shading of the form and its parts, depending on the lighting conditions (i.e., on the strength of the light sources and on the position of the surfaces of the form in relation to them) Color is a property characterized by the following main features: color tone (chromatic and achromatic hue), saturation (the degree of brightness of a color) and lightness.
Schemes. The nature of the form and texture
The change in color according to the indicated signs creates an infinite variety of young men. In the compositional use of all these properties, three main types of qualitative relationships between them have a decisive chance - contrast, nuance, identity (repetition). In contrast, very different states of any property are compared (large versus small, vertical versus horizontal, massive versus spatial, flat versus volumetric, planar versus relief, etc.).
In the nuance, close states of a property are compared. In the identity, the states of properties are repeated.
On the basis of these ratios, various compositional connections and harmonious relationships in volume-spatial forms can arise. Contrast and nuance cannot be understood statically, as unchanging relationships. These are relations of states of form properties that contribute to the emergence of artistic expressiveness of the composition as a whole. Therefore, contrast and nuance can be called compositional means.
The primary properties of the spatial form listed above are the initial and initial elements of the composition, the primary form-building material from which the composition is built. And the same primary material becomes actively influencing when it appears in the form of a harmonious relationship, that is, the primary property becomes a compositional means.
When one of the dimensions begins to predominate in the form, visual movement in the direction of this dimension begins to pick up. It clearly arises when perceiving regular geometric shapes. This phenomenon is called dynamics, and by it you mean not physical, but visual movement.
Dynamics arises not only in the direction of the prevailing dimension (in height, width or depth), but also in the direction in which, in visual movement, a person perceives the development of space.
In contrast to dynamics, the relative absence of visual movement is called static. This means visual immobility of the form, a state of rest. A square and a plane and a cube as a volumetric shape can serve as examples of static shapes. Rectangles and parallelepipeds, in which one dimension is two or more times larger than the other, are examples of dynamic shapes.
When examining an object as a whole, the eye perceives its geometric shape and structure. Almost all visible elements are bounded on all sides by shells or planes different shapes... This means that each element, each object has a certain spatial shape. The primary elements of the spatial form of objects are geometric appearance, size, position in space, mass, texture, texture, decor, color and chiaroscuro.
Geometric view. This is a property (element) of the form as a whole and its parts, determined by the ratio of its dimensions along the three coordinates of space, as well as by the nature of its surface (straight or curved, broken line). Depending on the predominance of one of the three dimensions, the following types of shape are distinguished: volumetric, planar and linear. Volumetric view characterized by three sizes. A flat view is characterized by a sharp decrease in one of the dimensions. In a linear form, one dimension prevails over the other two when they are relatively small.
Shape lines. It is natural for a person to relate emotionally to the phenomena and objects around him. The concept of rest and movement, light and heavy, passive and active, a person associates with different kinds lines, their slope and nature (Fig.).
The horizontal line, for example, is associated with the concept of rest, static, passivity. She promotes visual decrease shapes vertically.
The vertical line - energetic and hot - expresses the striving upward, visually lengthens the shape.
An oblique line is associated with instability, falling, and the closer it is to the horizontal, the more it is associated with confidence and calmness.
The diagonal line is perceived differently. It acts as a force that overcomes passivity, expresses movement, dynamics. Distinguish between right and left diagonals. They are perceived differently. The right one is the diagonal of the ascent, the left is the diagonal of the fall. The diagonal is typical for asymmetrical garments, soft and hard draperies, etc.
A wavy (smooth) line characterizes the uniformity of movement, softness, fluidity. Smooth lines are used in clothing of complex styles.
The broken line is associated with uneven movement, sudden changes in events, ups and downs.
A spiral is associated with the concept of rotation, and an arc is associated with overcoming some obstacles and then taking off.
To create the shape of products, the designer uses geometric lines in a complex, i.e. in various compositional subordination, combinations. In this case, one of the lines should play the role of the main, leading, on the basis of which the entire composition is built.
Form size. This is the extent of the form and its elements along three coordinates. The size of the mold is determined in relation to the size of a person, the size of products of other shapes or individual elements the same shape. When comparing the forms, one can see their equality or inequality. The size of the form can visually increase or decrease when comparing large and small. Small parts v great shape emphasize its size, while large ones, on the contrary, decrease it.
Position in space. This is a property of a form, determined by its location among other forms, as well as relative to the observer in the system of frontal, profile and horizontal planes. An object whose shape approaches a rectangular parallelepiped with two equal measurements, can take three typical positions in relation to the observer: frontal, profile and horizontal. A cube in which all three dimensions are equal has only one sample position. The same can be said about objects whose shape approaches these figures.
The mutual arrangement of forms in space in relation to each other and to the viewer can also be viewed according to another criterion - by their location relative to each other or the viewer closer, further, higher, lower, left, right. In relation to the horizon line, forms can be located above, below or at its level.
Mass of the form. This is the visually perceived amount of material of the entire object or its parts, which can fill the space within the geometric shape. The mass of the form depends on the size of the object. A larger mass visually corresponds to a larger form. The perception of mass also changes depending on the geometric appearance of the form. The largest visually perceived mass is possessed by forms approaching a cube and a ball, and all those whose dimensions in three coordinates are equal or close to equal. Forms that approach linear ones have the minimum mass, therefore, narrow and long clothes always seem less massive than short and wide ones.
The perception of mass changes depending on the degree of filling of the forms. With an increase in the degree of filling, objects seem more massive. The most massive are objects in which there are no voids. The change in the visually perceived mass of a form depends, in addition, on the color, texture and texture of the material from which it is made, and on the size of the objects adjacent to it. The visually perceived mass of the form increases if there are smaller objects next to it. If their sizes increase, then the mass of this form visually decreases. All these illusory changes in the mass of shapes are often used in product design.
Texture(lat. factum - processing, structure). Texture - the visible structure of the surface of the form. The texture can be smooth, shiny and glossy, matte and rough, coarse or fine-grained, etc. Each material (metal, glass, fabric, paper, sand, stone, etc.) has its own texture. Its perception depends on the distance of the viewer to the surface in question, the nature of the lighting (if it is lateral, then the roughness is clearly visible).
The volume and mass of the shape of the products depend on the texture of the material. Strengthening the surface texture increases the bulk and weight of products. A smooth and shiny surface, on the contrary, gives lightness and visually reduces volume. The texture of the material can even influence the perception of the proportional relationships of the form.
Texture(Latin texturg - fabric, connection, structure). Texture - signs of internal structure visible on the surface of the material. For example, products made of wood, stone, leather have an expressive texture. Various textures are used as decorative agent, revealing the aesthetic originality of the material.
Colour. This is the property of bodies to cause certain visual sensations in accordance with the spectral composition of the light reflected, transmitted or emitted by them. Distinguish between physical, physiological, emotional and psychological properties of color.
The physical properties of color include hue, brightness (lightness), and saturation. Hue is what distinguishes one color from another: red, green, blue, etc.
Brightness, or lightness, is characterized by the amount of reflected or transmitted light. Each color has a certain lightness. Orange is lighter than red, blue is darker than cyan, brown is darker than pink, etc.
All colors are divided into achromatic and chromatic. Achromatic - white, gray, black - do not possess selective absorption and differ from each other in lightness. Chromatic - spectral and mixed - are distinguished by hue, lightness and saturation.
Saturation is understood as the proportion of pure spectral color in a given color. It is defined as a percentage. Saturation of the corresponding spectral color is taken as 100%, and white or other achromatic color is taken as zero. Thus, spectral colors have a saturation equal to one, and achromatic ones - zero. The most saturated colors are basic spectral and magenta. They are called clean, open, intense. The colors located between the main spectral ones are intermediate (yellow-green, blue-violet, orange-yellow), less saturated, they are called complex, calm, restrained, soft. Any color decreases in saturation when white or black is added to it. Colors whose saturation has been reduced by adding white are called bleached colors (pink, lilac, etc.). Colors that have been reduced in saturation by adding black are called darkened.
The physiological properties of color are its ability to affect human body, for example:
intense red color causes too much excitement, increases blood pressure;
green promotes the expansion of capillaries, lowers blood pressure, relieves visual fatigue, soothes; yellow stimulates brain activity;
blue and purple have a beneficial effect on the lungs and heart, increasing their endurance;
gray and black colors can cause depression, depression.
The emotional and psychological properties of color are associated with physiological effects and all kinds of illusions and associations. So, according to the nature of perception, all colors are divided into warm and cold. Warm colors - red, orange, yellow, yellow-green - are associated with the sun, fire, warmth. They are bright, catchy, dynamic, increasing in size and volume. Cold colors - blue, blue, purple, green-blue - are associated with water, ice, cold. These colors are calmer, less prominent.
Distinguish between light and heavy colors. All light and cold colors are classified as light, dark and warm colors are classified as heavy. Colors are divided into "protruding" - light and warm and "receding" - dark and cold. The properties of color to zoom in or out, to make objects lighter or heavier, to increase or decrease their volume are widely used in fine and decorative arts. In particular, the spatial properties of color allow you to create the apparent depth of the image on the flat canvas of the painting.
Due to the associative nature of the perception of color, they cause different feelings and sensations in a person, special moods, evoke some images:
red is perceived as exciting, hot, the most active and energetic, courageous, passionate, the color of valor, strength, power;
green - calm, moderate and refreshing - creates an impression of softness, pleasant and wholesome peace; a symbol of spring, fertility, youth, freshness, joy, hope, memories;
yellow - exciting, revitalizing, cheerful, cheerful, fussy, flirtatious, somewhat impudent, the color of fun and joke, a symbol of sunlight, warmth, happiness;
orange - hot, vigorous, cheerful, fiery, cheerful;
blue - light, fresh and transparent; white - light, cold and noble, a symbol of purity.
Color perception is affected whole line factors that can change the apparent color of bodies. Changes in their color are often associated with the spectral composition of light sources. So, in the light of incandescent lamps there are more yellow rays than in sunlight, therefore yellow colors become more saturated, reds lighten, the shade becomes yellow, blues darken, lilacs acquire a yellow tint, and purples become red. The color of the material also depends on the texture of the surface. Colors appear lighter on glossy surfaces, and darker on matte surfaces (satin and velvet).
The perception of color also depends on the phenomena of contrast. Distinguish between simultaneous and sequential contrasts. In turn, the simultaneous contrast can be a contrast in lightness and color, or chromatic. The simultaneous contrast in lightness is that the colors located on or near a dark background brighten, and darken on a light background or next to it. White color against a black background it seems especially bright, and black on white appears to be deep black. The same gray pieces of fabric on a black, white, and gray background will look different. On a white background, the fabric seems darker, on black it is lighter, on a gray one it will hardly change.
A kind of contrast in terms of lightness is also due to the marginal, or borderline, contrast. At the border of light and dark, light brightens even more, and dark darkens, which gives the impression of unevenly colored areas. To destroy the edge contrast, the planes are divided contour line.
Simultaneous chromatic contrast is a change in color depending on the other color that surrounds it. The color always changes in the opposite direction (complementary) to the surrounding color. For each chromatic color, another chromatic can be found, which, when mixed with the first in certain ratios, gives an achromatic. These two chromatic colors are called complementary. On the color wheel, complementary colors are located at opposite ends of the diameters. Additional color pairs are: red and bluish green, orange and cyan, yellow and blue, green and magenta, etc.
As a result of chromatic contrast grey colour on different backgrounds it acquires an unequal apparent color. So, on a red background, a gray pattern turns green, on a green background it turns red, on a blue background it turns yellow, etc.
Consistent contrast occurs when two colors are viewed not simultaneously, but alternately. The second color will appear to be a complementary color to the first.
Color is not only an element of the form, but also an important means of uniting and harmonizing its other elements. The color of industrial products is chosen taking into account their functional purpose and methods of operation, design, material, composition.
Chiaroscuro. She is a consequence different angle incidence of light rays from the light source on the form and is characterized by the distribution of light and dark areas on its surface. The formation of light and shadow effects depends on the shape of the object, the relief and texture of the material, the direction of incidence of the rays from the light source. Chiaroscuro on clothing, for example, is largely due to shape relief. The relief is created by folds, overhead details, seams, folds, drapery, etc. The abundance of details and draperies overloads the form with light and shadow effects and increases its volume. If chiaroscuro is formed by sparse vertical lines, the volume of the form visually decreases: the effect of visual illusions acts.
Decor(French decor, Latin decoro - decorate). This is an element of the form of products in the form of an ornament or drawing.
Ornament(Latin ornamentum - decoration) - a drawing (pattern) built from organized elements. There are two main types of ornament: geometric and pictorial.
Geometric ornament is built from abstract geometric shapes (squares, triangles, rhombuses, circles), as well as strokes, points and lines, which, alternating in a certain order, allow you to get patterns from the simplest to the most complex. Geometric ornament is widely used to decorate modern glass, ceramics, fabrics and other materials.
The pictorial ornament reproduces specific objects of the real world - plants, animals, things. Fine ornaments are widely used to decorate fabrics, knitwear, glass, ceramics, etc.
Texture is a collection of features determined by location and distribution. component parts rocks relative to each other and the space they occupy. Is an important diagnostic element for recognition building materials
When studying the macrostructure of materials, the term "texture" is often used, which clarifies our attitude to this material.
The texture can be layered, massive, banded, porous, etc.
Most building materials have a porous texture. They are subdivided into fine-pored, pore sizes, which are determined by hundredths and thousandths of a millimeter up to 1 ... 2 mm. Fine-pored materials are hardened mortars and concretes, ceramics, a number of stones, and large-pore foam - and aerated concrete, gas glass, poroplates, etc. Large pores (up to a centimeter) are called voids, and they include the spaces between pieces and grains of loose materials.
Influence on properties.
For example, deep-seated rocks have low porosity and, therefore, high density and high strength. In addition, due to their very low porosity, these rocks usually have low water absorption, frost-resistant and highly heat-conductivity. The processing of such rocks is difficult due to their high strength. However, thanks to high density they are well polished and polished.
Wood texture- This is a natural pattern of wood fibers on the treated surface, due to the peculiarities of its structure. It is an important diagnostic element for the recognition of building materials. The texture depends on the features of the anatomical structure of individual wood species and the direction of the cut. It is determined by the width of the annual layers, the difference in the color of early and late wood, the presence of pith rays, large vessels, and the wrong arrangement of fibers (wavy or confused). Hardwoods with pronounced annual layers and developed core rays (oak, beech, maple, elm, elm, plane tree) have a very beautiful structure of radial and tangential sections. Especially beautiful drawing has wood with an irregular arrangement of fibers. Softwoods and softwoods have a simpler and less varied pattern than hardwoods. Transverse(1) is called a cut that runs perpendicular to the axis of the trunk and the direction of the fibers and forms an end plane. Radial(2) a cut is a longitudinal cut passing through the core of the trunk in a radial direction along the grain of the wood and perpendicular to the tangent to the annual layer of wood at the point of tangency. Tangential(3) a cut is a longitudinal cut at some distance from the core and in a radial direction along the grain of the wood tangentially to the annual layer. Breeds in which anatomical elements are poorly distinguishable with the naked eye are classified as weak textured (for example, birch, pear, boxwood). Rocks with well-visible wide vessels in longitudinal sections have dashed lines, etc. If the longitudinal lines are collected in wide stripes (for example, oak, amur velvet, ash), so it is called striped. Etc. with a random arrangement of strokes is called a scattered-dashed line (for example, Walnut, persimmon, eucalyptus). Wood with clearly visible core rays (for example, beech, oak, sycamore) is characterized by a mirror-like texture on radial cuts (rays are visible as shiny intermittent stripes or spots - mirrors) and scaly on tangential cuts (rays have the form of spindle-shaped longitudinal lines, as a rule, more darker than the surrounding wood).
37. Types of materials based on mineral binders. The main types of materials based on mineral binders include concrete, reinforced concrete, mortars, silicate (based on air lime), asbestos-cement, gypsum and paints. There are also special-purpose materials, including thermal insulation, roofing, for hydraulic structures, roads. Concrete - an artificial stone obtained as a result of mixing, molding (laying) and subsequent hardening of a rationally selected mixture of a mineral binder, water and aggregate. Basically, concretes are classified by average density: especially hard with an average density of more than 2500 kg / m³, containing dense and heavy aggregates (cast iron shot, steel filings and grains, barite); heavy, containing dense fine and coarse aggregates (sand, crushed stone or gravel). According to their functional purpose, concretes are distinguished for general (for load-bearing and enclosing structures of residential, public, industrial buildings) and special (heat-insulating, road, hydraulic, decorative, etc.) purposes. Reinforced concrete are obtained at the construction site or in the factory, combining concrete and steel reinforcement into a single whole. Reinforcement involves the installation of steel reinforcement in those places of the m-la (concrete), which are subject to tensile loads during operation. They are perceived by the working load-bearing reinforcement. Monolith reinforced concrete structures are being erected directly at the construction site. For this, formwork is installed from metal, wood or other materials that correspond to the future shape of the structure. Then they put the reinforcement, feed and lay concrete mix... Arch forms of buildings and structures made of monolith reinforced concrete are very diverse and differ in their peculiar plasticity. Currently, prefabricated concrete and reinforced concrete blocks are manufactured for all the main parts of modern buildings and structures - foundations and frames, walls, partitions, ceilings, coatings, stairs, as well as for special types of construction (underground, road, hydraulic engineering, bridge construction ). Construction solutions are obtained from various mineral binders (cement, lime, gypsum and their mixtures - cement-lime, lime-gypsum, as well as cement-clay, etc.), fine aggregate and additives that improve the properties of the material. TO silicate claim stone materials include brick and concrete. Asbestos cement materials made of special Portland cement of grades 400 and 500 and asbestos fibers, which significantly strengthen the structure of the cement stone. Gypsum m-ly obtained from gypsum dough and mineral or organic fine-grained aggregates. Paints based on mineral binders contain alkali-resistant pigments and a small amount of additives.
Texture - these are features of the structure of sedimentary rock, determined by the way the space is filled, the location of the constituent parts and their orientation relative to each other. Rock texture is formed from the stage of sediment accumulation. The primary textures arising in the course of sedimentation reflect the state of the environment at the time of accumulation of sedimentary material and the results of its interaction with the sediment. They can transform into post-sedimentary stages. Secondary textures arise in an already formed rock during the processes of catagenesis, metagenesis and hypergenesis.
Textures largely predetermine physical properties rocks, including strength, compressibility, filtration capacity, etc., unequal in different directions. Textures are studied mainly visually - in outcrops, pits, core samples, sometimes under a microscope.
There are layer surface textures and interlayer textures.
Layer surface textures
They arise on the surface of the sediment during a short-term change in the state of the sedimentation environment, during precipitation and the vital activity of organisms. A change in the state of the environment leads to their complete destruction, therefore necessary condition their preservation is rapid burial under new sediments.
Ripple marks are a system of parallel ridges perpendicular to the direction of water or air flow. They form on the surface of sandy, silty, clay-calcareous and dolomite sediments. There are symmetrical and asymmetrical ripple marks.
Asymmetric - formed in air and water environments under the influence of wind and currents, and symmetric - arises as a result of waves. Aeolian ripples are distinguished by a significant predominance of the length of the ridge's cross-section over its height, and in the ripples of currents, these values differ only slightly. The ripple wavelength is 10-20cm, but not more than 100cm. Water ripples are formed at a depth of 150-200 m, and the distance between the ridges ranges from units to tens of centimeters, increasing with depth.
Drying cracks are formed in clay or lime sediment that has accumulated in the aquatic environment during its subsequent drying in air. Crack cavities are filled with foreign material. In plan, they form polygons, in profile, these are wedge-shaped cavities extending downward from the surface. The depth of penetration is from fractions of a cm to a meter or more. The width on the surface is 3-5cm.
Raindrops and hail prints appear as rounded depressions with edges along the periphery. Diameter up to 12-15mm (more for hail), depth up to several mm. Formed mainly on the surface of clayey sediments.
Traces of animal life are preserved on wet, mainly calcareous or clayey sediments in the form of paw, foot prints, slipping marks, etc. They often persist after sediment has been converted to rock.
Signs associated with the deformation of the sediment surface are formed as a result of the activity of water flows, sea currents, etc. As a result, grooves, depressions, grooves, scratches and other formations appear on the surface. After overlapping them with fine-grained sediments, casts (bas-relief marks) are formed at the lower boundary of the new layer, which remain after lithification of the sediment.
Bas-relief signs appear on the surface of the formation and are called hieroglyphs (or hieroglyphs), which means sacred letters, since the nature of many of them remained unsolved for a long time.
If the bas-relief signs are the result of a purely mechanical effect on the sediment, then they are called mechanoglyphs. They often have the form of aciniform formations - the result of uneven erosion by a strong current or the accumulation of a semi-liquid sediment; or parallel cuts, hatching, linearly elongated beds, sometimes intersecting and very bizarre.
If the marks are the result of traces of organisms, they are called bioglyphs.
Among them, the most common are fucoids and chondrites, similar to plant twigs, or tangled threads of algae. These passages are in the form of rollers, and inside - curved rods, flagella, threads. The cavity is filled with a substance falling out of solutions, or sediments of the overlying layer. Sometimes they are filled with sediment, processed by silt eaters, and have a lighter shade than the breed itself, or they can be filled with fecal lumps.
Intra-layer textures
The most common are layered and massive, less often there are textures associated with the vital activity of organisms, with landslides and other phenomena.
Massive texture - characterized by a random arrangement of its constituent parts in the rock. Due to this, the rock has the same physical properties in different directions. When split, irregularly shaped debris is formed.
Layered textures - due to the alternation of layers of several differences sedimentary rocks... Layering can be caused by a change in the size of fragments, the orientation of sedimentary material, the content of nodules, accumulations of organic matter, shells, etc.
Based on the location of sedimentary material in the rocks, horizontal and oblique bedding is distinguished.
Horizontal bedding is typical sedimentary rock texture. In it, the layers are located parallel to each other and layering planes. It is formed when the depositional environment changes under conditions of slow, uniform movement or in a state of relative quiescence. According to the thickness of the layers, they are distinguished: massively layered (more than 50 cm), thick-layered (more than 5 cm), medium-layered (2-5 cm), thin-layered (0.1-2 cm) and micro-layered (less than 0.1 cm) ... Horizontal layering is typical for rocks of various compositions.
Periodic (rhythmic-cyclic) fleece bedding - is an alternation of layers or members with a uniform set of rocks, only slightly varying from member to member. The reason for this is that the course of sedimentation is due to a regular change natural phenomena, for the most part periodic. They reflect the progress of the process not in a circle, but in a spiral. The alternation of layers can be continuous, or discontinuous in the case of deposits or erosion. Sometimes this periodicity can be small (microlayers), more often the power of the rhythms is measured in tens of centimeters or meters, and in thousands of meters in large sections (systems, tiers).
Wavy layering is characterized by a curvilinear shape of the layers, giving in the section a pattern of waves, sometimes more or less symmetrical. This type of layering is associated mainly with wave oscillation, less often with the translational motion of the deposition medium.
Oblique bedding is less common. It is found mainly in sandstones, silty and carbonate rocks. Characteristics- the location of the layers at an angle to the layering planes, and the orientation can change over a short section of the path.
False layering (schistosity, Liesegang phenomenon, shelliness). The same factors that reveal the initially imperceptible formation separation can over time obscure it and create false bedding.
If the tectonic pressure in mountainous areas is directed at an angle to the bedding plane, then oblique cleavages (cleavage, schistosis) and, accordingly, segregations are created. Or underground waters and solutions, spreading at an angle, and unevenly depending on the structure, texture and porosity of the rock, also create a bizarre false layering, and iron hydroxides most often fall out along the cracks. The repeated fallout of matter along cracks, as a result of which the rock can disintegrate into nested "iron shards", is called the "Liesegang phenomenon".
Underwater sliding textures can form in various non-solidifying sediments, but are most typical of finely interbedded sandy, silty, clayey or lime deposits... Slumping can begin at a slope of 1-3 0. As a result, small folds are formed, ranging in size from units to tens of centimeters, but often up to hundreds of meters.
Among the interlayer textures, there are postdiagenetic ones that have arisen in the already formed sediment. The most common: styllolite and funicular textures.
Stillolite texture - in cross-section perpendicular to the bedding, it appears as sawtooth seams cutting through the rock and oriented mainly parallel to the bedding, although there are vertical and diagonal ones. The height of the teeth ranges from fractions of up to 2-3 cm or more. The seams themselves are filled with difficult to dissolve, finely dispersed debris, clay, organic carbon, sulfides and iron oxides.
Such textures are typical for carbonate rocks, but also occur in clastic rocks. There are several points of view regarding the genesis of their origin, however, most scientists believe that they arose as a result of selective dissolution of rocks under pressure, and insoluble components were concentrated in the seam cavity.
The pounder texture is somewhat reminiscent of the stillolite texture. This is a rare texture of the articulation of the underlying and overlying layers. On one surface there are conical protrusions, and on the second, there are depressions of the same shape ("funnels"). Their height varies from fractions to several centimeters. Textures cover layers up to half a meter thick. They are typical for marls, clayey limestones and clays. They arise during recrystallization and a decrease in the volume of the rock under the weight of the overlying rocks. Formations of this type are found in deposits of various ages, where thin layers of limestone occur among clay rocks.