Diagonal composition. Composition Basics: The Power of Lines

Understanding composition is something every photographer should spend time on. Without the need to invest in expensive equipment, understanding the elements of good composition will undoubtedly improve your photographic work. Developing a photographic eye comes naturally to some, but for others it takes time and effort to hone their visual skills and abilities. Here is a selection of tips and advice to help you evaluate and compose your work.

If you have time, find a reason to concentrate and practice these skills, and definitely try to keep them in mind the next time you take a photo, it can help you feel the difference between shooting good shot and a great shot.

Step 1 - Don't try to be perfect

It is important to understand that there is no such thing as a “perfect” composition. Since this is a subjective art form, you will never reach a point where you get the perfect shot, but it is entirely possible to have shots with poor and good composition. There are many elements of photographic composition, which I will discuss in detail in this article. Each section is just a simple guide to help you achieve stronger, more compelling images.

Step 2 - Simplicity

One of the main things to pay attention to is the placement of elements in the frame relative to each other. Based on this, you will need to decide what you will include in the frame and what you will leave out of it. There is often a temptation to fill the frame as much as possible big amount interesting objects, but when we're talking about When it comes to composition, it's best to be selective about what you include in the frame and make your choices consciously. Some of the most striking photographs have a very simple but effective composition, the eye follows the image unobstructed and the viewer is drawn into the clear and effective frame.

Step 3 - Rule of Thirds

One of the simplest rules of composition is the rule of thirds, which has become a very common tool for amateur and professional photographers. The technique is to divide the frame into thirds, vertically and horizontally (so they are effectively ninths), and use these lines to effectively divide your image and separate areas of the image. The points where the lines intersect are considered key areas for the main objects in the frame.

This rule, although very simple, works really well when applied correctly. For example, in landscape photographs, the horizon may cross the frame along the bottom horizontal line, and the top of a mountain range may cross the top horizontal line. Similarly, with portrait shots, the eyes can be placed at the points where the top horizontal line intersects two vertical lines.

Step 4 - Landscape Composition

It is extremely important to use composition effectively when working with landscapes. The drama of a great landscape shot comes from composition and structure. Ask yourself what your shot will be about. About water, about mountains in the distance, about the horizon, sunset or rocks in the foreground? What elements do you want to highlight in the frame? Using the rule of thirds, try to make sure there is different levels, make sure you have an interesting subject in the foreground to add a sense of depth and scale to the image, and that the main focal point in the frame is clearly prioritized.

Step 5 - Lines

Lines in an image are one of the most effective ways make your frame more vibrant. Horizontal and vertical lines give the image a clear structure, while curved lines have a more relaxed feel. Consider where each line in the frame begins and where it leads. It is very effective to have a line in the frame leading the eye, for example, from the bottom corner through the image to the opposite corner. Paths, rivers, train tracks and roads can serve this purpose if used correctly.

When you work with horizontal and vertical lines in a frame, make sure that the photo looks clear and that the lines are straight. You wouldn't believe how many photographs I've seen that have been ruined by a slightly tilted line, such as the horizon. Of course, it is possible to edit the frame later to correct these errors, but it is much better to practice and align it correctly while shooting.

Step 6 - Shapes

Once you understand the role that lines play in the composition of an image, you can appreciate the impact of shapes. Try to distance yourself from what you're looking through the viewfinder at specific item and refer to the shape of each element in the frame. It is important to understand how shapes interact with each other. Strong shapes like triangles and squares are much easier to frame than softer ones rounded shapes, but by appreciating how each element is formed, you can make a very powerful impact by introducing the shapes and their interactions as the main theme of the photo.

Step 7 - Contrast

When it comes to your main subject, consider it in context and in relation to its surroundings. How do the colors, shapes, textures and shades of the main focal point match the surrounding space? If there is a strong connection between them, you can play with this and highlight it in the image using composition, combining the subject with its surroundings. If your subject and surroundings are very different, try to use composition techniques to enhance those differences.

Step 8 - Framing

Effective framing is the foundation of a strong composition. The natural inclination is to place the main focal point exactly in the center, but this often looks strange and out of touch with its surroundings. Try placing it closer to one side or a corner to see if you can create context and relationships. It's worth noting, however, that portraits often look brightest when the subject is centered. So it's worth experimenting, don't just make one decision about how to frame your shot and stick with it, explore all your options.

Step 9 - Negative Space

It's important to take into account the negative space in an image. When you're working with small subjects, the tendency is to try to fit the entire focal point into the frame. In fact, composition when shooting a macro subject becomes much more vibrant if you either fill the frame with the subject, placing it close together, or use negative space around it to allow the subject to breathe and fit harmoniously into its surroundings.

Try experimenting with something simple like: sea shell, or see how you can change the composition if you don't just frame in the usual way, but try to get closer, or, on the contrary, move away.

Step 10 - Angle

When you're working with your subject, consider the angle you're shooting from. Often the easiest way is to shoot the subject from the angle you see it, but as you work on the shot, explore different angles and approaches. You can find more interesting way to express main topic picture.

Step 11 - Layers

Just like when working with layers in landscape shots, be sure to include some elements of depth in your images. Placing an interesting object in the foreground is the easiest way to do this, but even using a zigzag object will add a sense of depth and draw the eye deeper into the image.

Step 12 - Symmetry and Patterns

Using symmetry and patterns effectively can help create a truly powerful shot, especially when you're working with subjects like architecture. Spend time exploring the subject and recognizing patterns and patterns (paying attention to shapes and lines). Find the midpoint and position the camera exactly perpendicular to the subject. Avoid distracting details that will break the symmetry or pattern, and try to maximize the desired effect.

Step 13 - Cropping

In this age of post-processing, if you come home and discover that you didn't compose your shot the way you wanted, nothing is lost. Almost all image processing utilities now have a crop tool that allows you to crop out unwanted parts of a photo. You can do this with a fixed aspect ratio (most photos today are 3:2), or you can freely crop the frame to the shape you want, such as a square, or create a panoramic landscape shot by cropping the bottom and top levels.

Step 14 - Practice, Practice and Practice

So we've explored a number of compositional principles that can really help you on your journey to creating stronger, more captivating images. As soon as you have the opportunity, practice using these suggestions. Whatever you shoot: landscapes, portraits, macro, there is always room for experiments to improve your composition, a chance to make your frame at least a little brighter.

Just please remember that there are no quick and easy solutions to creating great shots. The above techniques can help you, but you should not overstep them either. When you think you have figured out how to effectively put these principles into practice, feel free to start breaking the rules and taking down your topic objects in a creative way which you consider optimal for yourself.

Creating a beautiful composition in landscape design is not as simple a task as it might seem at first glance. Composition is not just making a whole out of parts. This is the creation of a whole that you want to stop your gaze on again and again. This is what causes us different positive emotions. It is the landscape composition that is the basis of good design, and it consists of only four main elements.

Line in a landscape composition

Lines in a landscape composition can be horizontal, vertical, diagonal or curved. Lines are used in landscape design to emphasize an object, define a path of movement, or draw attention to a focal point, which could be, for example, fire, water or a small architectural form. Paths or an area of the garden with a direct route to a focal point will naturally direct a person to the accent area of the garden. In contrast, a winding path will create a sense of wonder.

Using a line, you can redirect a person's gaze to areas of greatest interest, and it doesn't matter what the line is. Therefore, when you set a route on your site, carefully consider where the main or secondary path will lead. The most common mistake is the path to nowhere. But this directs our gaze. And if we don’t see anything at the end of our path, then subconsciously we begin to be overcome by doubts about whether we need to go there at all. And this does not at all cause interest, but rather fear. And if at the end of the path we see a small architectural form, a beautiful sculpture, a bench or a tree with interesting shape, our gaze calms down, and we smoothly move into a state of contemplation. And this is a completely different feeling.

If you decide to create winding paths on your site, then the principle of surprise applies here. The winding path is interesting, but not in itself. IN in this case every sharp turn must necessarily contain an accent element that encourages you to move on. And here it will be better if the shape of the path is not completely visible; you need to make sure that each section or each curl is hidden, for example, behind a screen of plants. Then this will arouse a feeling of interest: what is there, around the corner?

One more point that I would like to highlight - do not skimp on paving paths in the garden, because it will serve you long years. Now the times have come that cannot tolerate alterations. Firstly, it is very expensive, and secondly, it is a waste of your precious time. How often do we see areas where paths simply connect the entrances of buildings to each other. Where is the landscape composition here? There is none, so you cannot feel comfortable in such an area. Expand your horizons a little, open up the lawn in front of your house, create a beautiful flower garden on it, or plant a small decorative group from trees and shrubs. Believe me, you will look at such a landscape much more often than at a lawn crisscrossed with paths. In this case, your eyes will endlessly wander along the created lines in search of shelter.

Lines, whether real or imaginary (formed, for example, by planted plants), create general composition in the garden. It is the lines that create a sense of order and allow you to focus on the entire garden design as a whole, rather than on the individual details that make it up.

Form in landscape design composition

The forms of the landscape composition are created by contours closed in space and form three-dimensional objects. Small architectural elements and plants have a form, and it is they that organize the landscape, and often determine the entire landscape style of the garden. Formal geometric shapes are familiar to us as circles, squares and polygons. Free forms feature sinuous lines and blurred edges.

Plants create shape in the garden through their outlines and silhouettes, and their shape can change when grouped together. Whereas buildings and small architectural elements are permanent forms.

Circles in the composition

The circles have a durable construction. A person's gaze is always turned to his center, which is most often used as a place for emphasis. For variety in design, derivatives of the circle are also used - ellipse, segment, oval or semicircle.

Squares in composition

Squares are the generally accepted “construction” shape. We often see it in paving paths, as well as in stone, brick or wood structures and their finishing (tiles). Unlike a circle, a square is a more fundamental and difficult to perceive shape. The square shape can also be divided into segments, with which you can achieve another, unique and more complex shape.

Polygons in composition

Polygons (especially triangles) need to be treated with special care. Sharp corners are perceived as “prickly”, which creates a certain discomfort for a person. The simpler the polygon, the easier it is perceived by our vision.

Twisting shapes

Free, sinuous forms often imitate the natural flow of rivers or streams. Such forms work well when creating paths, designing flower beds, designing ponds and a dry stream. Winding lines can add mystery to a garden composition, revealing more and more views to the viewer.

Blurred or jagged edges imitate chips of natural stone and textured leaves, causing a feeling of roughness and roughness. Similar forms can be seen in rock gardens or along a dry stream, and these forms can also be reflected in small architectural forms.

Fragmented Forms

Fragmented shapes resemble fragments of stone or brick and are often used in step paving.

Plant shape

The shape of the plants is the most interesting. It can change due to an increase in the number of plants when they are grouped. A shape that contrasts with other shapes in general composition, will be an accent. Accent forms should be used with caution; there should be one or two of them, but if their number is too large, they can lead to chaos. Vertical compositions add height to the space, while horizontal compositions add width. The shape of plants is capable of changing the space of a landscape composition, introducing into it all kinds of convexities and concavities. For example, the shape of a tree with arched branches creates a concave space underneath that can be filled with a plant with a domed crown.

Trees have a wide variety of shapes, they can be: round and columnar, oval and pyramidal, vase-shaped and weeping. Various shapes trees are used not only for visual appeal, they also carry a functional load. For example, round and oval tree shapes are more suitable for creating shade in the garden, while screening requires a pyramidal or columnar shape.

Shapes of shrubs

Shapes of shrubs can be upright, vase-like, arched, mound-shaped, rounded, pointed, cascading and irregular. When choosing shrub forms, you need to consider whether they will be planted in a group or individually.

Ground-blooded forms

Ground cover forms include: carpet, prostrate, creeping, needle-shaped and clumpy. Almost all ground cover forms look better in masses.

Shape is a very powerful tool for recognizing and defining the subject of a composition based on its outline or silhouette. Human vision is capable of reproducing an object even if we see only part of the shape we are familiar with. Repetition of the same shape is necessary when creating a landscape design structure. Shapes also determine the style of the garden. Geometric shapes are the basis of regular gardens, while free forms are preferable to be used in landscape gardens that imitate nature.

Color in landscape composition

The colors of plants and small architectural forms add interest and variety to the landscape. Color is the most visible and, unfortunately, fickle element of landscape design. To create color schemes, a color wheel is used, which includes three primary colors (red, blue and yellow), three secondary colors(green, orange and purple) and six tertiary colors (a mixture of secondary and primary colors).

The colors of the leaves and flowers of plants create the mood in the garden. In the landscape design of a summer cottage, color is used for visual effect. Colors should be in harmony with the overall appearance of the garden and accompany its changes from season to season. The main color schemes are monochrome, analog and complementary.

Monochrome color scheme

A monochrome color scheme uses one color. In landscaping, this means only one color other than the green of the foliage and grass. In the garden where it prevails green color, after all, shape and texture have a greater impact on the emotional state. But one color can have many light and dark variations, which adds variety to the overall look. An example would be a white garden with white flowers, white variegated foliage and white decorative elements.

Harmonious color scheme

An analogue or harmonious color scheme for a composition is made up of any three to five colors that are adjacent on the color wheel, such as red, red-orange, orange, yellow-orange and yellow, or blue, blue-violet and violet. Colors are related to each other because they usually contain two primary colors and, when mixed, form a secondary and two tertiary colors, sharing common properties.

Complementary color scheme

A complementary color scheme involves using opposites standing flowers in the color wheel. These colors tend to have high contrast. The most common combinations are: purple and yellow, red and green, blue and orange. Such combinations are often found in nature among flowers.

In plants, all their components have color - leaves, bark, fruits and flowers. Foliage usually provides an excellent backdrop for flowering plants. Of course, green foliage in all its variety of shades is still the dominant color in quantity, but the brightness of other colors against the green background is perceived with great attention, since contrast is at work here.

Of course, color is also found in buildings, stone, paving stones, wood and furniture. Most colors in natural materials such as stone and wood are muted in tone and usually come in several variations (such as brown, tan and beige). Bright colors in small architectural forms are usually found among man-made materials (painted furniture, painted ceramic containers, sculptures or glass decorations).

Color has properties that can influence emotions, perception of space, lighting intensity, harmony and attention. Colors are determined by their “temperature”; they can be cold or warm. Cool colors have a calming effect and are used in passive relaxation areas. Warm colors, on the contrary, evoke a storm of emotions; they are best used in landscape compositions in places of active recreation. The "temperature" of color can also affect the perception of distance. Cool colors seem to recede back and are perceived further, making the space larger and deeper. Warm colors are perceived as being closer and make the space appear smaller.

Color can also serve as an accent. For example, yellow, which has the greatest intensity, contrasts strongly with other colors and must be used with great care. A small amount of rich color will produce the same effect as a large amount of a more muted color.

Color schemes in the garden may change depending on the season. Summer colors tend to be more varied and vibrant, and winter colors prone to monochromatic and darker colors. Color also depends on the time of day and season. Summer sun makes colors more saturated, and winter sun makes colors more muted. Choosing a color scheme for a landscape composition

design, you should take into account the time of day in which the garden will be used, and pay special attention to texture and shape.

Texture in landscape composition

Texture is a surface characteristic that can be divided into three categories: coarse, medium and fine. Texture in landscape composition is used to provide variety, interest and contrast. Every element of a plant has texture, be it foliage, flowers, bark, trunk or branches. Size and shape determine the texture of the plant.

Coarse texture dominates fine texture, as well as color and shape. The fine texture is completely subordinate to other qualities. Large textured plants attract attention and hold it thanks to the play of light and shadow. The fine texture increases space and gives a feeling of openness and lightness. Rough texture minimizes distance: plants appear closer and the space appears smaller.

Large leaves, leaves with jagged edges, thick twigs and branches, thorns and prickles, and deeply fractured bark have a rough texture. Fine texture is determined by small leaves, tall thin stems, thin grass, dense and small branches, vines, and small delicate flowers. But most plants cannot be classified as having either a coarse texture or a fine texture. They are characterized by medium leaves with simple forms and smooth edges, medium-sized branches (not densely located), their shape is usually round or mound-shaped. These medium-textured plants usually act as backgrounds for coarse- and fine-textured plants.

The texture of plants and small architectural forms influences the perception of distance and scale. To make a space feel larger, place fine-textured plants in the background, place medium-textured plants in front of them, and bring coarse-textured plants to the foreground. Then the sparseness of the fine texture will recede, and the space will seem larger. To make the space appear smaller, coarse-textured plants will need to take up space on the outer perimeter, while fine-textured plants will need to be brought to the front. Visually, this will make the composition space in landscape design smaller. Bold colors increase contrast and roughen up texture, while muted colors can soften the texture of a landscape composition.

Lecture No. 9. Composition.

Composition translated from Latin literally means composing, linking, connecting parts.

Composition is the most important organizing moment of the artistic form, giving the work unity and integrity, subordinating its elements to each other and to the whole. It combines particular aspects of the construction of an artistic form (real or illusory formation of space and volume, symmetry and asymmetry, scale, rhythm and proportions, nuance and contrast, perspective, grouping, color scheme, etc.).

Composition is the most important means of constructing the whole. By composition we mean the purposeful construction of a whole, where the arrangement and interrelation of parts are determined by the meaning, content, purpose and harmony of the whole.

The completed work is also called a composition, for example, a work of art - a painting, a piece of music, a ballet performance of numbers interconnected by a single idea, the composition of metal alloys, perfumes, etc.

There is no composition in the chaotic accumulation of objects. It is also absent where the content is homogeneous, unambiguous, elementary. And, conversely, composition is necessary for any holistic structure, quite complex, be it a work of art, a scientific work, an information message or an organism created by nature.

Composition provides a logical and beautiful arrangement of the parts that make up the whole, giving clarity and harmony to the form and making the content intelligible.

Without reflection compositional construction As a means of organizing material, it is impossible to make a judgment about works of art, much less create them.

The task of the compositional construction of a work is to distribute the material of the future work in such a way and in such a sequence, in such a relationship between the parts of the work, that the best way identify the meaning and purpose of the work and create an expressive and harmonious artistic form.

There are two ways of artistic vision when organizing a composition:

Paying attention to a separate object as the dominant feature of the entire composition and perceiving the rest only in relation to it. In this case, the environment is seen by the so-called peripheral vision and is deformed, obeying the center of attention and working for it.

Vision as a whole, without highlighting a separate object, while any details are subordinate to the whole and lose their independence. In such a composition there is neither main nor secondary - it is a single ensemble.

Construction.

Basic Rules

There can be no composition if there is no order. Order defines the place of each thing and brings clarity, simplicity and power of impact.

Start by looking for a background color; it should be calm and emphasize the expressiveness of the objects. Don’t forget about light, proper and expressive lighting of objects.

There should be nothing superfluous from the items. Beware of variegation. It is advisable to have no more than four primary colors in the composition. Start the layout by outlining a rectangle that determines the format of the future drawing, for example, a wall with adjacent objects. Make an initial sketch of the objects in pencil. Determine the scale of the objects depicted. Determine the final color ratio in the composition.

Composition construction

Selection of characteristic elements of the composition:

Association according to homogeneous characteristics, shape, color, texture, texture;

Identifying the most important uniformity that needs to be emphasized in the composition;

Including contrasts in the composition that create tension in it.

Compliance with the law of restrictions (no more than three) in:

Material,

Details;

3. The basis of a live composition is an unequal triangle. The basis of a static composition is symmetry. For example, in a large store window, it is advisable to repeat color concentrations (spots) three times.

4. Grouping of elements, taking into account the fact that the selected material is not placed in a mixed pile, but in groups of two or three elements. For example: three candles or three pieces of furniture (a sofa and two armchairs).

5. Providing free space between groupings so that the beauty of individual parts of the composition in a dense arrangement is not lost.

6. Emphasizing the subordination (subordination) between groups. For example, the most important elements are placed in a prominent place of honor in order to direct the visitor’s gaze first to them, and then to less important (valuable) ones.

7. The relationship between groupings and within them is achieved by line, plasticity, and also when some elements are turned half-turn to other elements and to the viewer (the law of the stage).

8. Three-dimensionality, stereoscopicity, perspective are achieved with the help of color, size, and dynamics of shape.

9. Maintaining optical balance by correctly placing large, heavy, dark forms relative to small, light, light ones.

10. Following the natural position of objects, as well as growth, movement, development. For example, plant material is arranged as it would grow.

11. Experimentation is the key to success in creativity. Try not to stop immediately after creating a composition, try to change something.

Principles of composition

The principle of dominance

In order for any composition to become expressive, it must have a compositional center, a dominant, which can consist of several elements or one large one, it can also be free space - a compositional pause.

Options for organizing the dominant:

1. Condensation of elements in one section of the plane compared to their rather calm and uniform distribution in other sections.

2. Highlighting the element with color; other parameters, dimensions and shape are the same.

3. Contrast of shapes, for example, among figures that are round in outline there is an acute one and vice versa.

4. An increase in the size of one of the elements of the composition or vice versa: among the larger elements there is a small one, which will also be sharply different and dominate. You can also emphasize this with tone or color.

5. The resulting void (compositional pause) will dominate other areas of the plane, more or less filled with elements.

Two compositional centers are possible, but one of them should be leading, and the other subordinate to the first, so that a controversial situation does not arise or a feeling of uncertainty does not appear.

When organizing the dominant, it is important to take into account the laws of visual perception of the plane - the dominant is always located in the active part, i.e. closer to the geometric center of the composition.

The principle of dynamism

To achieve expressiveness in a decorative composition, an important role is played by the rhythmic organization and interrelation of visual elements on the plane.

A rhythmic alternation of various figures with a decrease or increase in any qualities (size, rotation, degree of complexity, color or tonal saturation, degree of graphic or decorative processing of the form) is possible.

Depending on the arrangement of the figures, the composition can be static or dynamic. In the first case, the elements are located symmetrically relative to the format axes. In the second case, the following options are possible:

1. If the motives are identical, dynamism is achieved due to different distances between the elements of the composition, as well as due to their condensation in some areas of the composition and sparseness in others. This happens based on one parameter - distance.

2. Elements of the same motif have different sizes and are located at different distances from each other. Dynamism is achieved through contrast in three parameters: the distance between elements, their sizes and rotations.

Movement in the picture is not really present, but is perceived by consciousness, being a reaction of the visual apparatus, eye movement caused by certain visual impressions. Even if the picture depicts a static state, a symmetrical composition, stable and motionless, there is movement in it, because details, elements of artistic form always express movement, their color and tone relationships, the interaction of lines and shapes, contrasts, tension cause strong visual impulses, and hence the feeling of movement, of life.

The principle of balance

Any correctly constructed composition is balanced. Balance is the placement of elements of a composition in which each item is in a stable position. There is no doubt about its location and no desire to move it along the pictorial plane. This does not require an exact mirror match between the right and left sides.

The quantitative ratio of tonal and color contrasts of the left and right parts of the composition should be equal. If in one part there are more contrasting spots, it is necessary to strengthen the contrast ratios in the other part, or weaken the contrasts in the first. You can change the outlines of objects by increasing the perimeter of contrasting relationships.

There are 2 types of equilibrium:

Static balance occurs when figures are symmetrically arranged on a plane relative to the vertical and horizontal axes of the format of a composition of symmetrical shape.

Dynamic equilibrium occurs when figures are asymmetrically arranged on a plane, i.e. when they are shifted to the right, left, up, down.

The balance of parts in a picture - the primary requirement of compositional construction - means the arrangement of pictorial material around an imaginary axis of symmetry in such a way that the right and left sides are in balance. This requirement for composition goes back, as mentioned before, to the universal law of gravity, which determines the psychological attitude in the perception of balance.

The principle of harmony

Harmony provides a connection between all elements of a work - it reconciles the contradictions between form and content, between material and form, between subject and space and other elements of form, bringing everything together into a single compositional whole.

When solving issues of balance in a composition, the location of the elements is important: its weight depends on which part of the composition the object is placed. An element that is at or near the center of the composition, or located on the vertical central axis of the composition, weighs less than an element that is outside these main lines.

Let's look at examples of layouts in plane format. The item located at the top of the composition looks lighter than the one placed below.

The object to the right of center appears heavier. This is due to the fact that the left hemisphere of the brain is dominant over the right. First we see the left side of the composition, then the eye moves to the right, i.e. it lingers less on the left side of the composition than on the right.

An object depicted in a perspective dimension appears heavier than the same object in a frontal image.

When establishing balance in a composition, the shape of the object plays an important role. The correct form looks heavier than the incorrect form.

Unity principle

The basic principle that ensures the integrity of the work. Thanks to this principle, the complex does not look like a conglomerate of disparate parts, but like a coherent whole. Composition acts as a system of internal connections that combines all components of form and content into a single whole.

Lack of integrity Integrity to frame

Grouping principle

In order for the whole to be perceived, a certain sequence in the perception of the parts is necessary. This consistency is achieved through the grouping of related or contrasting elements.

Parts of the whole form groups related to each other by similarity or contrast. The same principle is repeated within each of the groups (similarity or contrast), a rhythm arises that permeates the entire work. All these groups echo each other with all their elements, so that the whole is repeated in its parts, and the part as a whole. Thanks to the grouping of elements and parts, sequential perception of the parts of the whole occurs, and at the same time the whole is perceived simultaneously and as a whole.

Perception

Lines have an emotional impact on a person: the horizontal one evokes a feeling of peace, being associated with the horizon line; vertical - conveys upward aspiration; inclined - causes an unstable position; broken line - associated with imbalance of mood, character, and some aggressiveness; a wavy line is a flowing line of movement, but of varying speed (depending on the direction: vertical, inclined or horizontal). The spiral line shows the rotational movement in development.

There are the concepts of “sluggish line”, “tense line”, “dynamic line”. So, with the help of one line or another, a person can convey his emotional state. The expressive quality of lines is widely used by the designer when solving compositional problems, as well as in the decorative design of interiors and household items.

Visual perception depends on the emotional impulses that arise in the eye when the gaze glides over the image. Each turn, that is, a change of directions, lines, their intersection is associated with the need to overcome the inertia of movement, has an exciting effect on the visual apparatus and causes an appropriate reaction. A picture where there are many intersecting lines and the angles they form causes a feeling of anxiety, and vice versa, where the eye calmly glides along curves, or the movement has a wave-like character, a feeling of naturalness and tranquility arises.

A positive reaction occurs when the nerve cells of the visual apparatus experience a state of active rest. Certain geometric structures and shapes cause this condition. These include, for example, objects built according to the proportions of the “golden section”.

Symmetry is associated with a sense of balance and is determined by the law of gravity. Asymmetry, i.e. violation of symmetry, causes an emotional impulse that signals the occurrence of changes and movement. Movement is the form of existence of matter, “movement is life.”

The leading role of the dominant, the main area, the center of the image is associated with the features of directional and peripheral vision, thanks to which we distinguish details only around the point of fixation. This ability, due to the uneven structure of the retina, not only makes it possible to isolate the necessary information from others, but in an artistic compositional work it dictates the entire structure of the picture.

Rhythm is the most important means of organization work of art, the need to subordinate everything to rhythm in a composition is associated with a biological need. Rhythm is a form of movement and is organically inherent in matter as its property. Everything that moves, develops, functions in nature and in human activity is subject to rhythm.

The rhythmic alternation of different sensations causes positive emotions. A prolonged monotonous state or homogeneous impressions, on the contrary, depress the psyche. Thus, the need to change states, impressions, tension and relaxation, etc. inherent in human biological nature. Obviously, the same need underlies another phenomenon - contrast, associated with the intensification of visual impulses in the border zones; the stronger the impulse, the more sharply the forms contrast. Contrast is one of the most powerful expressive artistic means.

Types of composition

Closed composition

An image with a closed composition fits into the frame in such a way that it does not tend to the edges, but seems to close in on itself. The viewer's gaze moves from the focus of the composition to the peripheral elements, returns through other peripheral elements again to the focus, that is, it tends from any place in the composition to its center.

A distinctive feature of a 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 and plastically compact.

Open composition

The filling of the visual space in an open composition can be twofold. Either these are details extending beyond the frame that are easy to imagine outside the picture, or this is a large open space into which the focus of the composition is immersed, giving rise to the development and movement of subordinate elements. In this case, there is no drawing of the gaze to the center of the composition - on the contrary, the gaze freely moves beyond the boundaries of the picture with some speculation about the part not depicted.

The open composition is centrifugal, it tends to move forward or slide along a spirally expanding trajectory. It can be quite complex, but it always ends up moving away from the center. Often the center of the composition itself is absent, or rather, the composition is made up of many equal mini-centers filling the image field.

Symmetrical composition

The main feature of a symmetrical composition is balance. Symmetry corresponds to 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 drawing in mirror image. Symmetry is harmonious, but if every image

make it symmetrical, then after a while we will be surrounded by successful, but monotonous works.

Artistic creativity goes so far beyond the boundaries of 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, and contradiction. At the same time, symmetry, like algebra that verifies harmony, will always be a judge, a reminder of the original order and balance.

Asymmetrical composition

Asymmetrical compositions do not contain an axis or point of symmetry; the creativity in them is freer, but one cannot think that asymmetry eliminates the problem of balance. On the contrary, it is in asymmetrical compositions that the authors pay special attention to balance as an indispensable condition competent construction of the picture.

Static composition

Steady, motionless, often symmetrically balanced, compositions of this type are calm, silent, give the impression of self-affirmation, and carry within them not an illustrative description, not an event, but depth and philosophy.

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, thirst for novelty, the speed of fashion, and clip-based thinking. Dynamics often excludes majesty, solidity, and classical completeness; but it would be a big mistake to consider simple negligence in work as dynamics; these are completely unequal concepts. Dynamic compositions are more complex and individual, and therefore require careful thought and virtuoso execution.

Static compositions are almost always symmetrical and often closed, while dynamic compositions are asymmetrical and open. But this does not always happen; a strict classification connection between pairs is not visible; moreover, when defining compositions according to other initial criteria, it is necessary to create another series, which for convenience we will no longer call types, but forms of composition, where the appearance of the work plays a decisive role .

Forms of composition

All disciplines of the projective cycle, from descriptive geometry to architectural design, give the concept of elements that make up the shape of the surrounding world:

Plane;

Volumetric surface;

Space.

Using these concepts, it is easy to classify the forms of composition. You just need to keep in mind that fine art does not operate with mathematical objects, therefore a point as a geometric locus of space that has no dimensions cannot be a form of composition. For artists, a dot can be a circle, a blot, or any compact spot concentrated around the center. The same remarks apply to lines, planes, and three-dimensional space. Thus, the forms of the composition, named one way or another, are not definitions, but are only approximately designated as something geometric.

Point (centric) composition

A dotted composition always has a visible center; it can be a center of symmetry in the literal sense or a conditional center in an asymmetrical composition, around which the compositional elements that make up the active spot are compactly and approximately equidistantly located. A dot composition is always centripetal, even if its parts seem to diverge from the center, the focus of the composition automatically becomes the main element organizing the image. The importance of the center is most emphasized in a circular composition.

A point (centric) composition is characterized by the greatest integrity and balance, it is easy to construct, and is very convenient for mastering the first professional techniques of composition.

Linear-tape composition

In ornament theory, the arrangement of repeating elements along a straight or curved open line is called translational symmetry. In general, a strip composition does not necessarily have to consist of repeating elements, but its general arrangement is usually elongated in some direction, which suggests the presence of an imaginary center line relative to which the image is constructed. The linear-tape composition is open-ended and often dynamic. The format of the pictorial field allows for relative freedom; here the image and the field are not so rigidly tied to each other in absolute size, the main thing is the elongation of the format.

In a strip composition, the second of the three main features of a composition is often masked - 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 repeated elements that break up into separate mini-images, the main element is also repeated. If the composition is one-shot, then the main element is not masked.

Planar (frontal) composition

The name itself suggests that the entire plane of the sheet is filled with the image. Such a composition does not have axes or a center of symmetry, does not tend to become a compact spot, and does not have a clearly defined single focus. The plane of the sheet (entirely) determines the integrity of the image. The frontal composition is often used when creating decorative works - carpets, paintings, fabric patterns, as well as in abstract and realistic painting, stained glass, mosaics. This composition tends to be open. A planar (frontal) composition should not be considered only as one in which the visible volume of objects disappears and is replaced by flat spots of color. A multi-dimensional realistic painting with the transfer of spatial and volumetric illusions, according to the formal classification, belongs to the frontal composition.

Atrium of a residential building on Konnaya Street. Device: Sony A77 Lens: Tokina 116 Aperture: f8 Sensitivity: ISO100 Shutter speed: 1/250 sec. Focal length: 11 mm.

Today I will tell you about shooting vertical frames, which add compositional interest to photographs and are easy to implement. Often, beginning photographers lack imagination when building a composition, they are hampered by the clichés that were taught to them in photography courses, and the habit of looking into the camera viewfinder, which greatly limits those angles , which are possible when viewing in the "LiveView" mode on the folding display. This article will only talk about frames taken using the method of viewing on a display with 3 degrees of freedom of rotation that I describe. This function, for example, is perfectly implemented on the Sony A77 and Sony A99 cameras.

Atrium BC "ATRIO" Device: Sony A77 Lens: Tokina 116 Aperture: f8 Sensitivity: ISO200 Shutter speed: 1/40 sec. Focal length: 11 mm.

I always drive along city streets and look for houses that have atriums. The shots taken in them turn out to be very interesting. In general, I always try to use my imagination and turn my head in all planes to see angles that will allow me to get memorable photographs and a “WOW” effect for the audience. Sometimes such shots with ordinary SLR cameras it is either problematic or impossible to do for an obvious reason: When viewing through the pentaprism viewfinder of classic DSLRs, in order to take a strictly vertical frame without blockages, with a strict center of the axis of the object being photographed, you need to either take at least several “shots” or test frames to make sure the correctness of the set parameters for a specific scene being filmed, or shoot at random in the hope that you will get at least one frame. You won’t always have time to take even a couple of frames before the guys from the security service come up to you and strongly suggest stop filming. Because a person standing with his head thrown back 90 degrees and photographing the ceiling immediately attracts attention)) They really don’t like photographers, as everyone knows!

When viewing through the screen in the "LiveView" mode, you only need a few seconds to build a vertical composition with 100% control of the frame area and, if necessary, adjust the shutter speed and aperture parameters. This is usually enough to take a single, but true shot, until the moment when the guards creep up on you and ask questions about whether you have permission to shoot. This is exactly how I always shoot))

Atrium BC "T4" Device: Sony A77 Lens: Tokina 116 Aperture: f8 Sensitivity: ISO100 Shutter speed: 1/125 sec. Focal length: 11 mm.

View of the side façade of the "LETO" business center. Device: Sony A77 Lens: Tokina 116 Aperture: f9 Sensitivity: ISO100 Shutter speed: 1/30 sec. Focal length: 11 mm.

View of the side facade of the business center "ZIMA" Device: Sony A77 Lens: Tokina 116 Aperture: f8 Sensitivity: ISO200 Shutter speed: 1/60 sec. Focal length: 11 mm.

Also, “vertical” framing allows you to shoot frames that are quite abstract in content, or constructions that only with the described frame layout arouse interest in contemplation among people who see, for example, these architectural structures every day. There were often cases when a person working in a building and observing it every day could not understand how the photo was taken and asked if I had finished drawing something in Photoshop)) I had to point with my finger exactly where and how I took the photo, and in photography I prefer realism Photoshopism, because I don’t like it when a frame is taken somehow and then finished off in Photoshop...

The design of ventilation pipes in the residential complex "Diadema DeLux" on Krestovsky. Device: Sony A77 Lens: Tokina 116 Aperture: f9 Sensitivity: ISO100 Shutter speed: 1/125 sec. Focal length: 11 mm.

Side atrium of the Russian National Library on Moskovsky Prospekt. Device: Sony A77 Lens: Tokina 116 Aperture: f5.6 Sensitivity: ISO100 Shutter speed: 1/100 sec. Focal length: 11 mm.

Colonnade of the Alexander Palace. Pushkin. Device: Sony A77 Lens: Tokina 116 Aperture: f8 Sensitivity: ISO200 Shutter speed: 1/60 sec. Focal length: 11 mm.

Composition has its own laws that develop in the process of artistic practice and the development of theory. This question is very complex and extensive, so here we'll talk about the rules, techniques and means that help to build a plot composition, to translate an idea into the form of a work of art, that is, about the laws of composition construction.

We will consider mainly those that relate to the creation process realistic work. Realistic art does not simply reflect reality, but embodies the artist’s delight in the amazing beauty of ordinary things - the aesthetic discovery of the world.

Of course, no rules can replace the lack of artistic abilities and creative talent. Talented artists can intuitively find the right compositional solutions, but to develop compositional talent it is necessary to study the theory and work hard on its practical implementation.

The composition is built according to certain laws. Its rules and techniques are interconnected and apply at all moments of work on the composition. Everything is aimed at achieving expressiveness and integrity of the work of art.

Search for original compositional solution, the use of means of artistic expression that are most suitable for the embodiment of the artist’s plan form the basis of the expressiveness of the composition.

So, let's look at the basic principles of constructing a work of art, which can be called rules, techniques and means of composition.

The main idea of the composition can be built on the contrasts of good and evil, cheerful and sad, new and old, calm and dynamic, etc.

Contrast as a universal tool helps create a bright and expressive work. Leonardo da Vinci in his “Treatise on Painting” spoke about the need to use contrasts of sizes (high with low, large with small, thick with thin), textures, materials, volume, plane, etc.

Tonal and color contrasts are used in the process of creating works of graphics and painting of any genre.

35. LEONARDO DA VINCI. Portrait of Ginevra de Benci

A light object is better visible and more expressive against a dark background and, conversely, a dark object against a light one.

In V. Serov’s painting “Girl with Peaches” (ill. 36) you can clearly see that dark face The girl stands out as a dark spot against the background of a light window. And although the girl’s pose is calm, everything in her appearance is infinitely alive, it seems that she is about to smile, shift her gaze, and move. When a person is depicted in a typical moment of his behavior, capable of movement, not frozen, we admire such a portrait.

36. V. SEROV. Girl with peaches

An example of the use of contrasts in a multi-figure thematic composition is K. Bryullov’s painting “The Last Day of Pompeii” (ill. 37). It depicts the tragic moment of death during a volcanic eruption. The composition of this painting is built on the rhythm of light and dark spots, various contrasts. The main groups of figures are located on the second spatial plan. They are highlighted by the strongest light from the lightning flash and therefore have the most contrast. The figures of this plan are especially dynamic and expressive, distinguished by fine psychological characteristics. Panic fear, horror, despair and madness - all this was reflected in people’s behavior, their postures, gestures, actions, faces.

37. K. BRYULLOV. The last day of Pompeii

To achieve the integrity of the composition, you should highlight the center of attention where the main thing will be located, abandon secondary details, and mute contrasts that distract from the main thing. Compositional integrity can be achieved by combining all parts of the work with light, tone or color.

An important role in the composition is given to the background or environment in which the action takes place. The heroes' environment has great value to reveal the content of the picture. The unity of impression and the integrity of the composition can be achieved if you find the necessary means to implement the plan, including the most typical interior or landscape.

So, the integrity of the composition depends on the artist’s ability to subordinate the secondary to the main thing, on the connections of all elements with each other. That is, it is unacceptable for something minor in the composition to immediately catch the eye, while the most important remains unnoticed. Every detail should be perceived as necessary, adding something new to the development of the author's plan.

Remember:

– no part of the composition can be removed or replaced without damage to the whole;

– parts cannot be interchanged without damage to the whole;

– no new element can be added to the composition without damaging the whole.

Knowing the principles of composition will help you make your drawings more expressive, but this knowledge is not an end in itself, but only a means to help achieve success. Sometimes a deliberate violation of compositional rules becomes a creative success if it helps the artist more accurately realize his plan, that is, there are exceptions to the rules. For example, it can be considered mandatory that in a portrait, if the head or figure is turned to the right, it is necessary to leave a free space in front of it so that the person being portrayed, relatively speaking, has somewhere to look. And, conversely, if the head is turned to the left, then it is shifted to the right of the center.

V. Serov in his portrait of Ermolova breaks this rule, which achieves a striking effect - it seems that great actress addresses the audience who are behind the frame of the picture. The integrity of the composition is achieved by the fact that the silhouette of the figure is balanced by the train of the dress and the mirror (ill. 38).

38. V. SEROV. Portrait of Ermolova

The following compositional rules can be distinguished: transmission of motion (dynamics), rest (statics), golden ratio (one third).

Composition techniques include: conveying rhythm, symmetry and asymmetry, balancing parts of the composition and highlighting the plot and compositional center.

Composition means include: format, space, compositional center, balance, rhythm, contrast, chiaroscuro, color, decorativeness, dynamics and statics, symmetry and asymmetry, openness and closedness, integrity. Thus, the means of composition are everything that is necessary to create it, including its techniques and rules. They are diverse, otherwise they can be called means of artistic expressiveness of the composition. Not all are named here, but only the main ones.

Transmission of rhythm, movement and rest

Rhythm is a universal natural property. It is present in many phenomena of reality. Remember examples from the world of living nature that are in one way or another connected with rhythm (cosmic phenomena, rotation of planets, change of day and night, cyclical seasons, growth of plants and minerals, etc.). Rhythm always implies movement.

Rhythm in life and in art are not the same thing. In art there are possible interruptions in rhythm, rhythmic accents, its unevenness, not mathematical precision, as in technology, but living diversity, finding an appropriate plastic solution.

In works of fine art, as in music, one can distinguish between an active, impetuous, fractional rhythm or a smooth, calm, slow one.

Rhythm is the alternation of any elements in a certain sequence.

In painting, graphics, sculpture, decorative arts rhythm is present as one of the most important expressive means composition, participating not only in the construction of the image, but also often giving the content a certain emotionality.

39. Ancient Greek painting. Hercules and Triton surrounded by dancing Nereids

Rhythm can be set by lines, spots of light and shadow, spots of color. You can use alternation of identical elements of the composition, for example, figures of people, their arms or legs (Fig. 39). As a result, rhythm can be built on contrasts of volumes. Special role is given to rhythm in works of folk and decorative art. All numerous compositions of various ornaments are built on a certain rhythmic alternation of their elements.

Rhythm is one of the “magic wands” with which you can convey movement on a plane (Fig. 40).

40. A. RYLOV. In the blue expanse

We live in a constantly changing world. In works of fine art, artists strive to depict the passage of time. Movement in a painting is an expression of time. On a painting, fresco, in graphic sheets and illustrations, we usually perceive movement in connection with the plot situation. The depth of phenomena and human characters is most clearly manifested in concrete action, in movement. Even in such genres as portrait, landscape or still life, true artists strive not just to capture, but to fill the image with dynamics, to express its essence in action, over a certain period of time, or even to imagine the future. The dynamism of the plot can be associated not only with the movement of some objects, but also with their internal state.

41. Rhythm and movement

Works of art that contain movement are characterized as dynamic.

Why does rhythm convey movement? This is due to the peculiarity of our vision. The gaze, moving from one pictorial element to another, similar to it, itself, as it were, participates in the movement. For example, when we look at waves, moving our gaze from one wave to another, the illusion of their movement is created.

Fine art belongs to the group of spatial arts, in contrast to music and literature, in which the main thing is the development of action in time. Naturally, when we talk about the transfer of motion on a plane, we mean its illusion.

What other means can be used to convey the dynamics of the plot? Artists know many secrets to create the illusion of movement of objects in a picture and emphasize its character. Let's look at some of these tools.

Let's do a simple experiment with a small ball and a book (Fig. 42).

42. Ball and book: a – the ball lies calmly on the book,

b – slow movement of the ball,

c – rapid movement of the ball,

d - the ball rolled away

If you tilt the book a little, the ball starts to roll. The greater the tilt of the book, the faster the ball slides along it; its movement becomes especially fast at the very edge of the book.

Why is this happening? Anyone can do this simple experiment and, based on it, be convinced that the speed of the ball depends on the amount of tilt of the book. If you try to depict this, then in the drawing the slope of the book is a diagonal in relation to its edges.

Motion transfer rule:

– if one or more diagonal lines are used in the picture, the image will seem more dynamic (Fig. 43);

– the effect of movement can be created if you leave free space in front of a moving object (Fig. 44);

– to convey the movement, you should choose a certain moment of it, which most clearly reflects the nature of the movement and is its culmination.

43. V. SEROV. The Kidnapping of Europa

44. N. ROERICH. Overseas guests

In addition, the image will appear to be moving if its parts recreate not just one moment of movement, but its successive phases. Pay attention to the hands and poses of the mourners on the ancient Egyptian relief. Each of the figures is frozen in a certain position, but when viewing the composition in a circle, one can see consistent movement (Fig. 45).

Movement becomes understandable only when we consider the work as a whole, and not individual moments of movement. Free space in front of a moving object makes it possible to mentally continue the movement, as if inviting us to move with it (ill. 46a, 47).

45. Mourners. Relief from a tomb in Memphis

In another case, it seems that the horse has stopped at full speed. The edge of the sheet does not give him the opportunity to continue moving (ill. 466, 48).

46. Examples of motion transmission

47. A. BENOIS. Illustration for A. Pushkin’s poem “ Bronze Horseman" Ink, watercolor

48. P. PICASSO. Toro and bullfighters. Mascara

You can emphasize movement by using the direction of the drawing lines. In V. Goryaev’s illustration, all the lines rushed deeper into the street. They not only build a perspective space, but also show movement deeper into the street, into the third dimension (ill. 49).

In the sculpture “Discobolus” (Fig. 50), the artist depicted the hero at the moment of the highest tension of his strength. We know what happened before and what will happen next.

49. V. GORYAEV. Illustration for N. Gogol’s poem “Dead Souls”. Pencil

50. MIRON. Discus thrower

The feeling of movement can be achieved by using blurred background, unclear, indistinct outlines of objects in the background (ill. 51).

51. E. MOISEENKO. Messengers

A large number of vertical or horizontal background lines can slow down movement (ill. 52a, 526). Changing the direction of movement can speed it up or slow it down (ill. 52c, 52d).

The peculiarity of our vision is that we read text from left to right, and movement from left to right is easier to perceive, it seems faster.

Rest transfer rule:

– if there are no diagonal directions in the picture;

– if there is no free space in front of the moving object (see Fig. 466);

– if objects are depicted in calm (static) poses, there is no culmination of action (ill. 53);

– if the composition is symmetrical, balanced or forms simple geometric patterns (triangle, circle, oval, square, rectangle), then it is considered static (see Fig. 4-9).

52. Motion transmission schemes

53. K. MALEVICH. In the hayfield

54. K. KOROVIN. in winter

A feeling of peace can arise in a work of art under a number of other conditions. For example, in K. Korovin’s painting “In Winter” (ill. 54), despite the fact that there are diagonal directions, the sleigh with a horse stands calmly, there is no sense of movement for the following reasons: the geometric and compositional centers of the picture coincide, the composition is balanced, and the free space in front of the horse is blocked by a tree.

Selection plot-compositional center

When creating a composition, you need to take care of what will be the main thing in the picture and how to highlight this main thing, that is, the plot-compositional center, which is often also called the “semantic center” or “visual center” of the picture.

Of course, not everything in the plot is equally important, and minor parts are subordinate to the main thing. The center of the composition includes plot plot, main action and main characters. The compositional center should, first of all, attract attention. The center is highlighted by illumination, color, image enlargement, contrasts and other means.

Not only in works of painting, but also in graphics, sculpture, decorative arts, and architecture, a compositional center is distinguished. For example, Renaissance masters preferred that the compositional center coincide with the center of the canvas. By placing the main characters in this way, the artists wanted to emphasize their important role and significance for the plot (ill. 55).

55. S. BOTTICELLI. Spring

Artists have come up with many options for the compositional construction of a painting, when the center of the composition is shifted in any direction from the geometric center of the canvas, if the plot of the work requires it. This technique is good to use to convey movement, dynamics of events, rapid development of the plot, as in V. Surikov’s painting “Boyaryna Morozova” (see ill. 3).

Rembrandt's painting "The Return of the Prodigal Son" - classic example compositions where the main thing is strongly shifted from the center for the most accurate disclosure of the main idea of the work (ill. 56). The plot of Rembrandt's painting is inspired by a gospel parable. On the threshold home father and son met, who returned after wandering around the world.

56. REMBRANDT. Return of the Prodigal Son

Painting the rags of a wanderer, Rembrandt shows the difficult path his son has traveled, as if telling it in words. You can look at this back for a long time, sympathizing with the suffering of the lost. The depth of space is conveyed by a consistent weakening of light and shadow and color contrasts, starting from the foreground. In fact, it is built by the figures of witnesses to the scene of forgiveness, gradually dissolving into the twilight.

The blind father put his hands on his son's shoulders as a sign of forgiveness. This gesture contains all the wisdom of life, pain and longing for the years lived in anxiety and forgiveness. Rembrandt highlights the main thing in the picture with light, focusing our attention on it. The compositional center is located almost at the edge of the picture. The artist balances the composition with the figure of his eldest son standing on the right. The placement of the main semantic center at one third of the distance in height corresponds to the law of the golden ratio, which artists have used since ancient times to achieve the greatest expressiveness of their creations.

Rule of the golden ratio (one third): The most important element of the image is located in accordance with the proportion of the golden ratio, that is, approximately 1/3 of the whole.

57. Compositional scheme of the painting

Artists use paintings with two or more compositional centers to show several events occurring simultaneously and of equal importance.

Let's look at Velazquez's painting "Las Meninas" and its diagram (ill. 58-59). One compositional center of the picture is the young infanta. The ladies-in-waiting, the meninas, leaned towards her on both sides. There are two spots in the geometric center of the canvas same shape and the same size, but contrasting with each other. They are opposites, like day and night. Both of them - one white, the other black - are exits to the outside world. This is another compositional center of the picture.

One way out is a real door to the outside world, the light given to us by the sun. The other is a mirror in which the royal couple is reflected. This exit can be perceived as an exit into another world - secular society. The contrast between the light and dark principles in the picture can be perceived as a dispute between the ruler and the artist, or, perhaps, the opposition of art - vanity, spiritual independence - servility.

Of course, the bright beginning is presented in the picture in full height– the figure of an artist, he completely dissolved in creativity. This is a self-portrait of Velazquez. But behind him, in the eyes of the king, in the dark figure of the marshal in the doorway, oppressive dark forces are felt.

58. Diagram of Velazquez’s painting “Las Meninas”

59. VELASQUEZ. Meninas

The group of persons depicted by the artist is numerous enough for the imaginative viewer to get any number of pairs related by similarity or contrast: artist and king, courtiers and elite, beauty and ugliness, child and parents, people and animals.

In one picture, several ways to highlight 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 it in size and color - you can achieve the construction of an original composition.

It is important that all techniques for highlighting the plot and compositional center are used not formally, but to best reveal the artist’s intentions and the content of the work.

60. DAVID. Oath of the Horatii

Transferring symmetry and asymmetry in a composition

Artists of different eras used a symmetrical construction of the picture. Many ancient mosaics were symmetrical. Renaissance painters often built their compositions according to the laws of symmetry. This construction allows us to achieve the impression of peace, majesty, special solemnity and significance of events (ill. 61).

61. RAFAEL. Sistine Madonna

In a symmetrical composition, people or objects are located almost mirror-like with respect to the central axis of the picture (Fig. 62).

62. F. HODLER. Lake Tan

Symmetry in art is based on reality, which is replete with symmetrically arranged forms. For example, a human figure, a butterfly, a snowflake and much more are arranged symmetrically. Symmetrical compositions are static (stable), the left and right halves are balanced.

63. V. VASNETSOV. Bogatyrs

In an asymmetrical composition, the arrangement of objects can be very diverse depending on the plot and design of the work; the left and right halves are unbalanced (see Fig. 1).

64-65 a. Symmetrical composition, b. Asymmetrical composition

The composition of a still life or landscape is easy to imagine in the form of a diagram, which clearly shows whether the composition is symmetrical or asymmetrical.

Transferring balance in a composition

In a symmetrical composition, all its parts are balanced; an asymmetrical composition can be balanced or unbalanced. A large light spot can be balanced with a small dark one. Many small spots can be balanced by one large one. There are many options: parts are balanced by weight, tone and color. Balance can concern both the figures themselves and the spaces between them. By using special exercises It is possible to develop a sense of balance in a composition, learn to balance large and small quantities, light and dark, various silhouettes and color spots. Here it will be useful to remember your experience of finding balance on a swing. Everyone can easily figure out that one teenager can be balanced by placing two kids at the other end of the swing. And the baby can even ride with an adult who will sit not on the edge of the swing, but closer to the center. The same experiment can be done with scales. Such comparisons help to balance different parts of the picture in size, tone and color to achieve harmony, that is, to find balance in the composition (ill. 66, 67).

In an asymmetrical composition, sometimes there is no balance at all if the semantic center is closer to the edge of the picture.

Look how the impression of the drawing (ill. 68) changed when we saw its mirror image! This property of our vision must also be taken into account in the process of searching for balance in the composition.

68. Tulips in a vase. In the upper corner - compositional diagrams

Compositional rules, techniques and means are based on the rich experience of the creative skills of artists of many generations, but the technique of composition does not stand still, but is constantly evolving, enriched by the creative practice of new artists. Some compositional techniques become classic, and they are replaced by new ones, as life puts forward new tasks for art.