Mixed compositions t to this. Floristics for beginners. Mixed style. Types of flower arrangements
The graph on the left indicates growth. The graph in the figure on the right indicates a fall. It just so happened. And, accordingly, in the composition, the diagonal line drawn from the lower left to the upper right is perceived better than the line drawn from the upper left to the lower right.
Closed and open composition
In a closed composition, the main directions of the lines tend to the center. Such a composition is suitable for the transfer of something stable, motionless.
Elements in it do not tend beyond the boundaries of the plane, but seem to close in the center of the composition. A look from anywhere in the composition to strive for this center. To achieve it, you can use the compact arrangement of elements in the center of the composition, the frame. Arrangement of elements (geometric shapes in the image) so that they all point to the center of the composition.
An open composition, in which the directions of the lines emanate from the center, gives us the opportunity to continue mentally the picture and take it outside the plane. It is suitable for transmitting open space, movement.
Golden ratio rule
Different arrangement of elements on the plane can create a harmonious or inharmonious image. Harmony is a feeling and the concept of the correct arrangement of elements is very intuitive. However, there are several completely unintuitive rules.
The arrangement of simple geometric shapes in the image on the left looks much more harmonious. Why?
Harmony - this is coherence. A single whole in which all the elements complement each other. A single mechanism.
The largest such mechanism is the world around us, in which all elements are interconnected - animals breathe air, consume oxygen, exhale carbon dioxide, plants use its carbon and solar energy for photosynthesis, returning oxygen. Some animals feed on these plants, others regulate the amount of plants eating, eating them, thereby saving plants, the water evaporates to precipitate and replenish the reserves of rivers, oceans and so on ...
There is nothing more harmonious than nature itself. Therefore, understanding of harmony comes to us from it. And in nature, a huge number of visual images obey two rules: symmetry and golden ratio rule.
What is symmetry, I think, you know. And what is the golden ratio?
Golden ratio can be obtained if the segment is divided into two unequal parts so that the ratio of the entire segment to the greater part is equal to the ratio of the greater part of the segment to the smaller. It looks like this:
Parts of this segment are approximately equal to 5/8 and 3/8 of the entire segment. That is, according to the golden ratio rule, the visual centers in the image will be located as follows:
Rule of three-thirds
The golden ratio rule is not respected in this figure, but a sense of harmony is created.
If we divide the plane on which our geometric shapes are in nine equal parts, we will see that the elements are located at the intersection points of the dividing lines, and the horizontal strip coincides with the lower dividing line. In this case, the rule of three-thirds applies. This is a simplified version of the golden ratio rule.
Design and composition in design
Design - type of design, interdisciplinary artistic and technical activities for the formation of the subject environment. The aim of the design is to create a harmonious subject environment that most fully meets the material and spiritual needs of man. The most important two components of design: functionality and aesthetics.
Classic types of design:
1) Graphic design. The design object is: fonts, pictograms, corporate identity, various visual communications, etc. This is a plane job.
2) Industrial design. The object of design is: machines, devices, equipment, furniture, dishes, clothes ... Here, work is already underway with the volume.
3) Architectural design. The object is: buildings and their complexes, including interior design. There is a work with space.
4) Design of the architectural environment. The object of design is a complex dynamic system of the human environment, the optimal spatial organization and imagery of various environmental objects. (damn it! how lucky we are that we have nothing to do with this type of design!)
New types of design . There are two groups:
* Sphere design: ecodesign, ergoddesign (the main condition is to meet ergonomic requirements, i.e. ease of use), futurodesign (design of future projects that for some reason cannot be applied in the present), applied design, exhibition design (exhibitions ), engineering design (various technical structures, such as bridges).
* Design aimed at the result of work: art design (single design objects as an object of art), line art, computer design and, finally, our favorite, web-design.
Important . Before proceeding with the design of an object, it is necessary to determine its formal qualities: features of appearance, structural relationships of objects, the purpose of the object. After that, the content of the work is determined, and only after that it is possible to begin work on the form. ( unfortunately, inexperienced web designers often do the opposite: they find some beautiful website template and customize the content of the website for this template.)
Composition in design . This is the construction (structure) of the work, design, the location and connection of its parts, due to their layout, meeting the purpose and technical idea of \u200b\u200bthe work and its artistic-figurative design, reflecting the emotional and sensory expectations of the consumer of the design product.
The essence of work on the composition is to expand the artistic side of the product, to achieve integrated unity and orderliness by using compositional means.
The essence of the concept of "composition"
Composition is the connection of various parts into a single whole, in accordance with an idea, which together form a certain form. The term "composition is used in two aspects: 1) it is the purposeful construction of an artwork, due to its content, nature and purpose. 2) it is the most important organizing element of the art form, giving the work a harmonious unity and wholeness, matching its components to each other and the whole, acting as attribute of a work of art.
The essence of the concept of "harmony"
Harmony, translated from Greek, is harmony, harmony, the opposite of chaos. Harmony means a high level of orderliness and meets the aesthetic criteria of perfection and beauty. Regarding composition, harmony is understood as its formal characteristic.
The essence of the concept of "formality"
Formal composition . The form is interconnected with the content, but it is possible to separate the form from the content by replacing realistic objects with formal (or abstract), but in such a way that the formal composition expresses the idea and the artistic-figurative idea through:
Characteristics and properties of composition elements
Through the structural organization of composition elements
3 main types of composition : frontal, volumetric, volumetric and spatial.
Frontal . The distribution of elements in two directions: vertical and horizontal. They include planar compositions and relief.
Volumetric . The distribution of the element by the coordinates of height, width and depth.
Three-dimensional . It consists of several volumetric compositions located in space at certain intervals.
The conditions on which the preservation of the frontality of the composition depends :
1) A certain ratio between vertical and horizontal dimensions.
2) Frontality depends on the silhouette of the plane.
3) Depends on the nature of the elements in depth.
4) Surface texture, color ...
Composition elements
3 main elements: point, line, spot.
Point and line have no properties ( except one: if the point is increased to a certain size, it turns into a spot, and vice versa)
Classification of stain properties:
Physical : quantitative (dimensions and proportions), plastic (shape and structure), surface properties of the spot (color, texture, texture, etc.)
Subjective : (consist of physical combinations): expressiveness / inexpressiveness, static / dynamic.
Placement of Elements
The degree of contact of the elements of the composition :
* Complete lack of communication.
* Implied (logical) connections.
* Physical contact or obvious connections.
* Physical contact with the merger of the group, monolith.
Compositional axes - these are invisible composition axes (lines of force) on which the elements are located. Axes reveal the structure of the image and ensure the interaction of the elements and the integrity of the composition.
Front composition placement : planar and illusory-spatial.
In the planar version, the elements are two-dimensional and do not overlap each other. In the illusory-spatial version, the elements are voluminous, they overlap each other and perspective is added.
Depending on the location, the following types of composition are distinguished: closed (nothing goes beyond the visual perception of the composition), unlimited (it means the continuation of the composition beyond the visual perception)
LAWS OF COMPOSITION
The basic laws of composition: integrity and unity, balance, subordination.
Wholeness . Due to the observance of this law, a work is perceived as a single indivisible whole, and not as a sum of disparate elements. Composition acts as a system of internal relations, combining all the components of forms and contents into a single whole. In the composition, all elements are brought to harmonious ordering. Those. there must be the integrity of the form itself and the integrity between the elements of the forms.
The main features of the law of integrity:
1) the indivisibility of the composition, or the inability to perceive it as the sum of disparate elements. Indivisibility is laid with constructive ideas
2) the need for communication and mutual coordination of all elements of the composition ( meaning the need to track how these elements go together and whether they are torn apart).
Equilibrium . This is a state of composition in which all elements are balanced among themselves. The balanced parts of the whole acquire visual stability. Basically, equilibrium is reduced to a balance of expressiveness. Allocate static and dynamic equilibrium.
Static This is the state of the composition in which the balanced elements as a whole give the impression of its unstable immobility.
Dynamic. This is the state of the composition, in which elements balanced among themselves give the impression of its movement and internal dynamics.
Subordination and equivalence of elements . Subordination is the allocation of the center of composition (dominant) to which all other elements are subject ( moreover, they do not just obey, but strengthen its significance), i.e., a hierarchy arises in the composition. In the hierarchy, there may be second-order dominants (accents). Depending on the number of levels of dominants, two degrees of hierarchy between elements are distinguished: 1) two-level (dominant and secondary [s] elements or dominant and emphasis). 2) three-level (for example: dominant, accent and minor elements).
Composition center depends on :
1) Its magnitude and the magnitude of the remaining elements.
2) Positions on the plane. Around the element, empty space is organized, and all the others come together. And the main element is indicated by secondary lines of force.
3) The shape of the element, which differs from the shape of other elements.
4) The texture of the item, which is different from the texture of other elements.
5) Colors. By applying a contrast (opposite color) to the color of the secondary elements (bright color in a neutral environment, and vice versa; chromatic color among achromatic ones; warm color with the general cold gamut of secondary elements; dark color among light ones).
6) The study of the element. The main element is more elaborate than the secondary ones.
7) Lighting element.
BASIC MEANS OF COMPOSITION
* Contrast
* Identities
* Symmetry
* Asymmetry
* Proportionality
* Scale
Contrast
This is a sharp difference between elements, objects, shapes, etc. in the following categories: size, shape, tone, color, attitude to space, etc. Allocate:
One-dimensional contrast . There is a difference in one category.
Multidimensional contrast . There is a contrast in several categories.
A feature of the contrast composition is the activity of its visual impact.
Nuance
These are minor differences in the composition of the elements in the same categories. One-dimensional and multi-dimensional nuance is also distinguished. In nuance forms, there are more similarities, and the difference is a little bit.
Identity
This is a repetition of elements of the same, similar in quality (size, shape, tone ...).
Requirements for the identical composition: 1) the element should be simple, expressive, beautiful. 2) the relation of the identical element to space must be observed.
Symmetry
This is the identical arrangement of elements relative to a point, axis or plane of symmetry, perceived by the eye as a special kind of ordering of balance and harmony.
Types of symmetry : mirror, axial, mirror-axial, screw.
Mirror . This is symmetry in which the elements of the composition are located at the same distance from the plane of symmetry and when superimposed on each other, their figures coincide at all points, i.e. one figure mirrors the other.
Axial symmetry . This is symmetry about the axis, the line of intersection of two or more planes of symmetry. (In axial symmetry, the element itself must have an asymmetric structure!)
Mirror Axial or Mixed . There are two types of such symmetry: 1) when in one work there is a combination of both mirror and axial symmetry. 2) when axial symmetry with a symmetric structure of elements is taken.
Helical symmetry . The element performs both rotational and translational motion around the axis. ( For voluminous bodies only)
Asymmetry
This is a variant of the composition, in which the combination and arrangement of elements, axes, planes of symmetry is not observed. This is the absence or violation of symmetry (asymmetry).
Rhythm
This is the alternation of any elements in a certain sequence. ( tact, dimensionality, measured flow) The most important sign of rhythm is the repeatability of elements (forms) and the intervals between them. Rhythmic repetitions can be: uniform, decreasing or increasing. Depending on this, the repeatability can be of two types: static and dynamic.
Static rhythm . Consists of elements repeating at the same interval. Rows can be simple and complex.
1) A simple series is based on repeating the same element with the same interval. ( See fig. 1)
2) A complex row is formed by a combination of simple ones. By the method of alternation is divided into:
Alternating at regular intervals. ( See fig. 2)
fig. 2
Alternating equal elements with unequal intervals ( See fig. 3)
fig. 3
A series of alternating unequal elements (See Figure 4)
fig. 4
Dynamic rhythm . This is a series of perspective increase or decrease in the sizes of elements and intervals, or both at the same time. The development of time series can occur according to arithmetic (the difference between any two adjacent elements is constantly preserved, see Fig. 5) or geometric (the size of each subsequent interval is equal to the previous multiplied by a constant number, Fig. 6) progression.
fig. 5
fig. 6
(fig. 5.6 shows the progression of the intervals, the construction of the progression of the sizes of the elements occurs according to the same principle).
Important! There should be more than 6 elements in a row, as fewer elements do not make up a row.
Of all the signs of the form, the most significant for rhythmization are (in descending order):
2) Interval
3) Color (lightness)
Rhythmic rows are perceived in the direction from large elements to smaller ones, from dark to light, from small intervals to large.
Modularity
The module is a universal design tool, although there is still no sensible explanation for it. The module is the value taken as the basis for calculating an item. The main feature of the module: multiplicity to the whole product ( those. it is one and the same element, multiplying which and combining with different combinations, you can get different forms, for example: parquet, tile on the sidewalk) A module can be: planar, embossed (ceramics, gypsum) and volumetric. Consider the main requirements for the module:
1) Simplicity. The module should be simple, because it is part of the whole work.
2) Integrity.
3) Expressiveness.
4) The module should allow you to combine different versions of the work.
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What is a composition?
In any kind of art, the key role is played by the correct arrangement of the elements of the work, which allows to convey the idea of \u200b\u200bthis work most accurately. That is, to highlight key storylines, convey the necessary mood and maintain harmony. Composition (from the Latin compositio) is the combination (combination) of these elements into a single whole.
Geometric and compositional center.
We are building a composition on a plane. Be it a photograph, a piece of paper or a computer monitor. If two diagonal lines are drawn through this plane, the point of their intersection will indicate the geometric center of our future composition. Any item inscribed in this center will feel quite confident.
(coincidence of geometric and compositional centers)
The composition center serves to focus the viewer's attention on the details of the composition. In photography, painting and drawing, as a rule, the plot and compositional centers stand out. That is, in the compositional center is the main plot of the work.
The composition center and the geometric center of the composition may not match.
There can be several compositional centers in a composition, while a geometric center is one.
The composition center can be allocated:
- contrast of light and shadow
- color contrast
- size
- form
Basic concepts and rules of composition.
Diagonal lines in the composition:
The graph on the left indicates growth. The graph in the figure on the right indicates a fall. It just so happened. And, accordingly, in the composition, the diagonal line drawn from the lower left to the upper right is perceived better than the line drawn from the upper left to the lower right.
Closed and open composition:
In a closed composition, the main directions of the lines tend to the center. Such a composition is suitable for the transfer of something stable, motionless.
Elements in it do not tend beyond the boundaries of the plane, but seem to close in the center of the composition. A look from anywhere in the composition to strive for this center. To achieve it, you can use the compact arrangement of elements in the center of the composition, the frame. Arrange the elements so that they all point to the center of the composition.
An open composition, in which the directions of the lines emanate from the center, gives us the opportunity to continue mentally the picture and take it outside the plane. It is suitable for transmitting open space, movement.
Golden Section Rule:
Harmony is coherence. A single whole in which all elements complement each other. A single mechanism.
There is nothing more harmonious than nature itself. Therefore, understanding of harmony comes to us from it. And in nature, a huge number of visual images obey two rules: symmetry and the golden ratio rule.
What is symmetry is clear. And what is the golden ratio?
The golden ratio can be obtained by dividing the segment into two unequal parts so that the ratio of the entire segment to the greater part is equal to the ratio of the greater part of the segment to the smaller. It looks like this:
Parts of this segment are approximately equal to 5/8 and 3/8 of the entire segment. That is, according to the golden ratio rule, the visual centers in the image will be located as follows:
Three-thirds rule:
The golden ratio rule is not respected in this figure, but a sense of harmony is created. If we divide the plane on which our geometric shapes are nine equal parts, we will see that the elements are located at the intersection points of the dividing lines, and the horizontal strip coincides with the lower dividing line. In this case, the rule of three-thirds applies. This is a simplified version of the golden ratio rule.
Dynamics and statics in the image, movement, rhythm.
Dynamic composition - composition in which the impression of movement and internal dynamics is created.
Static composition (static in the composition) - creates the impression of stillness.
The image on the left looks static. The illusion of movement is created in the picture on the right. Why? Because we know very well from our experience what will happen to a round object if you tilt the surface on which it is located. And we perceive this subject even in the picture moving.
Thus, diagonal lines can be used to convey movement in the composition.
It is also possible to convey movement, leaving free space in front of a moving object, so that our imagination can continue this movement.
Static in the composition is achieved by the absence of diagonal lines, free space in front of the object and the presence of vertical lines.
Rhythm is one of the key points in art. It can make the composition calm or nervous, aggressive or peaceful. The rhythm is due to repetition.
The rhythm in the visual arts can be created by repeating color, objects, spots of light and shadow.
Symmetry and asymmetry in the composition, achieving equilibrium.
Symmetry:
In nature, a large number of visual images obey the law of symmetry. That is why symmetry is easily perceived by us in composition. In the visual arts, symmetry is achieved in such an arrangement of objects that one part of the composition seems to be a mirror image of the other. The axis of symmetry passes through the geometric center. Symmetric composition serves to convey peace, stability, reliability, sometimes, majesty. However, creating an image absolutely symmetrical is not worth it. Indeed, in nature there is nothing ideal.
Symmetry is the easiest way to achieve balance in a composition. However, not the only one.
Asymmetry, achieving equilibrium:
To understand what such a balance can be imagined mechanical scales.
In this case, the law of symmetry works. On the left and right on the scales at the same distance, two objects of the same shape and size are symmetrically located. They create balance.
Asymmetry will upset this balance. And if one of the objects is larger, then it will simply outweigh the smaller one.
However, it is possible to balance these objects by adding something to the composition as a counterweight. The asymmetry will remain:
It will also be possible to achieve equilibrium with asymmetry by moving a larger object closer to the center:
Achieving equilibrium is one of the most significant steps in constructing an asymmetric composition. Balance can be achieved by contrasting the sizes, shapes of spots of color and shadow.
Conclusion
Composition rules are not binding. Quite the contrary. Some rules contradict one another. However, before breaking a rule, you need to know it and be able to use it. Remember, if you break the rules, you must be clearly aware of what you are doing this for.
To the mixed style include compositions that do not meet the rules for constructing arrangements in massive, linear or linear-massive styles or combine the attributes of two or all three styles. These compositions are very diverse.
To the mixed style include:
- parallel composition , where all plants, divided into groups, use a rectangular floral foam (oasis) for fastening. Several different groups of stems are inserted into it, which are not covered by other plants. This composition has no smooth transitions, individual blocks contrast with each other in color and shape, vertical lines rise from the horizontal plant mass. Read more in detail
- thumbnails new composition - composition with a height, width and depth of not more than 10 cm. The main difficulty in creating such compositions is to maintain proportions, since both the vessel and plant material and accessories should be commensurable. Arrangements can be made from fresh or dried flowers.
- landscape composition , depicting, for example, a piece of forest, meadow, riverbank. To compose landscape compositions, they are necessarily used, that is, materials of non-plant origin (stones, shells, animal figures).
- decorative tree, it is usually made from artificial or dried flowers. It is also possible to make a decorative tree from fresh flowers, but it will be very laborious and not practical.
Federal Agency for Education
State educational institution
higher professional education
Department of Design and Artistic Processing of Materials
"Theory of composition"
Introduction
1.1 Integrity
2. Types of composition
2.1 Closed composition
2.2 Open composition
2.3 Symmetric composition
2.4 Asymmetric composition
2.5 Static composition
2.6 Dynamic composition
3. Forms of composition
3.4 Volumetric composition
4.1 Grouping
4.2 Overlay and sidebar
4.3 Division
4.4 Format
4.5 Scale and Proportion
4.6 Rhythm and meter
4.7 Contrast and nuance
4.8 Color
4.9 Composite axes
4.10 Symmetry
4.11 Texture and texture
4.12 Styling
5. The aesthetic aspect of formal composition
6. Style and style unity
7. Associative composition
Bibliographic list
Introduction
Artists use paintings with two or more compositional centers in order to show several events taking place simultaneously and of equal significance.
In one picture, several methods of highlighting the main thing can be used at once.
For example, using the technique of “isolation” - depicting the main thing in isolation from other objects, highlighting its size and color - you can achieve the construction of the original composition.
It is important that all methods of highlighting the plot-compositional center be applied not formally, but to reveal in the best way the artist’s intention · and the content of the work.
1. Formal features of the composition
Artists, passionately struggling over their next masterpiece, changing color and shape for the hundredth time, achieving work excellence, sometimes are surprised to find that their palette, where they simply mixed colors, turns out to be a sparkling abstract canvas that bears beauty without any substantive content .
A random combination of colors laid the axis into a composition that was not planned in advance, but arose by itself. So, nevertheless, there is a purely formal correlation of elements, in this case colors, which produces a sense of order. You can call it the laws of composition, but in relation to art, I do not want to use this harsh word "law", which does not allow the artist to freely act. Therefore, we call these relations the signs of composition. there are many of them, but from all the signs it is possible to single out the most significant, absolutely necessary in any organized form.
So, the three main formal features of composition:
integrity;
subordination of the secondary to the main, that is, the presence of a dominant;
equilibrium.
1.1 Integrity
If an image or an object is wholly covered by the gaze as a whole, it clearly does not fall into separate independent parts, then there is integrity as the first sign of composition. Integrity cannot be understood as a definite soldered monolith; this feeling is more complicated, there may be gaps, spaces between the elements of the composition, but nevertheless, the gravitation of the elements towards each other, their interpenetration visually separate the image or object from the surrounding space. Integrity can be in the layout of the picture in relation to the frame, it can be like a coloristic spot of the whole picture in relation to the field of the wall, or it can be inside the image so that the object or figure does not break up into separate random spots.
Integrity is an internal unity of composition.
1.2 Subordination to the minor (dominance)
In the theater it is customary to say that the king is played not by the king, but by his retinue. The composition also has its own “kings” and the “retinue” surrounding them, like solo instruments and an orchestra. The main element of the composition is usually immediately evident, it is he who is the main who serves all the other, secondary, elements, shading, highlighting or directing the look when considering the work. This is the semantic center of the composition. In no case is the concept of the center of composition connected only with the geometric center of the picture. The center, the focus of the composition, its main element can be in the background and in the background, it can be on the periphery or in the literal sense in the middle of the picture - it doesn’t matter, the main thing is that the secondary elements “play the king”, they bring the eye to the climax of the image , in turn, obeying each other.
1.3 Balance (static and dynamic)
This is a difficult concept, although, at first glance, there is nothing complicated here. The balance of a composition is by definition related to symmetry, but a symmetrical composition has the quality of balance initially, as a given, so there is nothing to talk about. We are interested in just the composition where the elements are located without an axis or center of symmetry, where everything is built on the principle of artistic intuition in a very specific situation.
The composition can be balanced by an empty field or by a single point placed in a certain place of the picture, but in general, this place and color intensity should not be a point. True, we can note in advance: the brighter the color, the smaller the balancing spot can be.
Particular attention has to be paid to balance in dynamic compositions, where the artistic task is precisely to disturb, destroy the equilibrium rest. Oddly enough, the most asymmetric composition, directed towards the canvas, in works of art is always carefully balanced. This can be verified by a simple operation: it is enough to cover part of the picture - and the composition of the remaining part will fall apart, become fragmented, unfinished.
composition picture formal
2. Types of composition
2.1 Closed composition
An image with a closed composition fits into the frame so that it does not tend to the edges, but closes to itself. The viewer's gaze moves from the focus of the composition to the peripheral elements, returns through other peripheral elements to the focus again, that is, tends from any place of the composition to its center.
A distinctive feature of the closed composition is the presence of fields. In this case, the integrity of the image is manifested in the literal sense - against any background, the compositional spot has clear boundaries, all compositional elements are closely interconnected, plastically compact.
2.2 Open composition
The filling of the visual space with an open composition can be twofold. Either it’s details that go beyond the frame, which are easy to imagine outside the picture, or it’s a big open space into which the focus of the composition plunges, giving rise to the development, movement of the subordinate elements. In this case, there is no delay in looking to the center of the composition, on the contrary, the view freely leaves the picture with some speculation of the unimaged part.
An open composition is centrifugal, it tends to translate or slide along a spiral expanding path. It can be very complex, but always end up moving away from the center. Often, the center of the composition itself is absent, or rather, the composition consists of many equal mini-centers filling the image field.
2.3 Symmetric composition
The main feature of a symmetrical composition is equilibrium. It holds the image so firmly that it is part-time and the basis of integrity. Symmetry meets one of the deepest laws of nature - the desire for stability. It is easy to build a symmetrical image, you just need to determine the boundaries of the image and the axis of symmetry, then repeat the image in mirror image. Symmetry is harmonious, but if every image is made symmetrical, then after a while we will be surrounded by successful, but uniform works.
Artistic work goes so far beyond geometric correctness that in many cases it is necessary to consciously break the symmetry in the composition, otherwise it is difficult to convey movement, change, contradiction. At the same time, symmetry, like an algebra that checks harmony, will always be a judge, a reminder of the original order, balance.
2.4 Asymmetric composition
Asymmetric compositions do not contain an axis or points of symmetry, form-creation in them is freer, however, one cannot think that asymmetry removes the problem of balance. On the contrary, it is in asymmetric compositions that the authors pay special attention to balance as an indispensable condition for the competent construction of the picture.
2.5 Static composition
Stable, motionless, often symmetrically balanced, compositions of this type are calm, silent, give the impression of self-affirmation, do not carry an illustrative description, not an event, but depth, philosophy.
2.6 Dynamic composition
Outwardly unstable, prone to movement, asymmetry, openness, this type of composition perfectly reflects our time with its cult of speed, pressure, kaleidoscopic life, a thirst for novelty, with the swiftness of fashion, with clip thinking. Dynamics often excludes grandeur, solidity, classical completeness; but it would be a big mistake to consider simple negligence in work as dynamics, these are completely ambiguous concepts. Dynamic compositions are more complex and individual, therefore, they require careful thought-out and virtuoso execution.
If the above three pairs of compositions are compared with each other and try to find a relationship between them, then with a slight exaggeration, we must admit that the first types in each pair are one family, and the second are another family. In other words, static compositions are almost always symmetrical and often closed, and dynamic compositions are asymmetric and open. But this is not always the case, a rigid classification connection between the pairs is not visible, moreover, defining compositions according to other initial criteria, it is necessary to create another series, which for convenience we will not call the types, but the composition forms, where the appearance of the work plays a decisive role .
3. Forms of composition
All disciplines of the projective cycle, from descriptive geometry to architectural design, give the concept of the elements that make up the shape of the world:
plane;
volumetric surface;
space.
Using these concepts, it is easy to classify the forms of composition. It is only necessary to keep in mind that fine art does not operate with mathematical objects, therefore, a point as a geometric place in space that has no dimensions, of course, cannot be a form of composition. For artists, a circle, a blot, and any compact spot centered around the center can be a point. The same remarks apply to the line, and the plane, and three-dimensional space.
Thus, the forms of composition, named one way or another, are not definitions, but only approximately designated as something geometric.
3.1 Point (centric) composition
a point composition always shows the center; it can be a center of symmetry in the literal sense or a conditional center in an asymmetric composition, around which the composite elements that make up the active spot are compactly and approximately equidistant. A point composition is always centripetal, even if parts of it scatter from the center, the focus of the composition automatically becomes the main element organizing the image. The meaning of the center is most emphasized in a circular composition.
The point (centric) composition is inherent in the greatest integrity and poise, it is easy to build, very convenient for mastering the first professional methods of composition. For point composition, the format of the image field is of great importance. In many cases, the format directly dictates the specific shape and proportion of the image, or, conversely, the specific format is determined by the image.
3.2 Linear tape composition
In ornament theory, the location of repeating elements along a straight or curved open line is called translational symmetry. In the general case, the tape composition does not necessarily have to consist of repeating elements, but its general arrangement is usually elongated in any direction, which implies the existence of an imaginary center line relative to which the image is built. Linear tape composition is open and often dynamic. The format of the image field allows relative freedom, here the image and the field are not so rigidly tied to each other in absolute sizes, the main thing is the elongation of the format.
In a tape composition, the second of the three main features of the composition is often masked by the subordination of the secondary to the main, therefore it is very important to identify the main element in it. If this is an ornament, then in the repeated elements that break up into separate mini-images, the main element is repeated. If the composition is simultaneous, then the main element is not masked.
3.3 Plane (frontal) composition
The name itself implies filling the image with the entire plane of the sheet. Such a composition does not have axes and a center of symmetry, does not tend to become a compact spot, it does not have a pronounced single focus. The plane of the sheet (in its entirety) determines the integrity of the image. The frontal composition is often used in the creation of decorative works - carpets, murals, fabric ornaments, as well as in abstract and realistic painting, in stained-glass windows, mosaics. This composition gravitates to the open type. It should not be considered a planar (frontal) composition only one in which the apparent volume of objects disappears and is replaced by flat color spots. A multifaceted realistic picture with the transmission of spatial and volumetric illusions according to the formal classification refers to the frontal composition.
3.4 Volumetric composition
It would be very great courage to call any picture a volumetric composition. This compositional form goes into three-dimensional forms of art - sculpture, ceramics, architecture, etc. Its difference from all previous forms is that the perception of the work comes sequentially from several points of observation, from many angles. The integrity of the silhouette is of equal importance in various turns. Volumetric composition includes a new quality - length over time; it is examined from different angles; it cannot be fully captured by a single glance. The exception is relief, being an intermediate form in which volume chiaroscuro plays the role of a line and a spot.
Volumetric composition is very sensitive to the illumination of the work, and the main role is played not by the intensity of light, but by its directivity.
The relief should be illuminated by a moving, not frontal light, but this is not enough, we must also take into account which side the light should fall from, since the appearance of the work changes completely from a change in the direction of the shadows.
3.5 Spatial Composition
The space is formed by architects and to some extent designers. The interaction of volumes and plans, technology and aesthetics that architects operate with is not a direct task of fine art, but spatial composition becomes the object of attention of the artist if it is built from voluminous artistic and decorative elements that are somehow located in space. Firstly, it is a stage composition, including decorations, props, furniture, etc. Secondly - the rhythmic organization of groups in the dance (meaning the color and shape of the costumes). Thirdly, exhibition combinations of decorative elements in halls or shop windows. In all these compositions, the space between objects is actively used.
As in volumetric composition, lighting plays an important role here. The play of light and shadow, volume and color can dramatically change the perception of spatial composition.
Often confused spatial composition as a form with a picture that conveys the illusion of space. There is no real space in the picture, in shape it is a planar (frontal) composition in which the arrangement of color spots sequentially removes objects from the viewer into the depth of the picture, but the construction of the image goes along the entire plane.
3.6 Combination of compositional forms
In real concrete works, the forms of composition in their pure form are not always found. Like everything in life, the composition of a painting or product uses elements and principles of different forms. The best and most accurate is the pure classification of the ornament. By the way, it was the ornament that was the basis on which, first of all, the patterns and forms of composition were revealed. Easel painting, monumental painting, plot engraving, illustration often do not fit into geometrically simplified forms of composition. In them, of course, one can often see a square, a circle, a ribbon, and horizontal, and vertical, but all this is combined with each other, in free movement, in interweaving.
4. Techniques and means of composition
If you take a few geometric shapes and try to put them into a composition, you have to admit that you can do only two operations with the shapes — either group them or lay them on top of each other. If some large monotonous plane needs to be turned into a composition, then most likely this plane will have to be divided into a rhythmic series in any way - color, relief, slots. If you need to visually zoom in or out, you can use the approximating effect of red or the deleting effect of blue. In short, there are formal and at the same time real methods of composition and the corresponding means that the artist uses in the process of creating a work.
4.1 Grouping
This technique is the most common and, in essence, the very first action in composing a composition. The concentration of elements in one place and the successive rarefaction in another, the allocation of the compositional center, the equilibrium or dynamic instability, the static immobility or the desire for movement - all the forces of the group. First of all, any picture contains elements that are somehow mutually located relative to each other, but now we are talking about a formal composition, so let's start with geometric shapes. Grouping also involves spaces in the composition, that is, the distance between the elements. You can group spots, lines, dots, shadow and illuminated parts of the image, warm and cold colors, sizes of shapes, texture and texture - in a word, everything that visually differs from one another.
4.2 Overlay and sidebar
By compositional action, this is a grouping that has stepped over the boundaries of figures.
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