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The Art of Painting by Jan Vermeer, noted for hissubtle compositions

Composition (visual arts)From Wikipedia, the free encyclopedia

In the visual arts—in particular painting, graphicdesign, photography, and sculpture—composition isthe placement or arrangement of visual elements oringredients in a work of art, as distinct from the subjectof a work. It can also be thought of as the organizationof the elements of art according to the principles of art.

The term composition means 'putting together,' and canapply to any work of art, from music to writing tophotography, that is arranged or put together usingconscious thought. In the visual arts, composition isoften used interchangeably with various terms such asdesign, form, visual ordering, or formal structure,depending on the context. In graphic design for pressand desktop publishing composition is commonlyreferred to as page layout.

Contents

1 Elements of design1.1 Line and shape1.2 Colour

2 Principles of organization2.1 Viewpoint (leading the eye)

3 Compositional techniques3.1 Rule of thirds3.2 Rule of odds3.3 Rule of space3.4 Simplification

3.4.1 Limiting focus3.5 Geometry and symmetry3.6 Creating movement3.7 Other techniques

4 Example5 See also6 References7 Further reading8 External links

Elements of design

Main article: Elements of art

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The various visual elements, known as elements of design, formal elements, or elements of art, are thevocabulary with which the visual artist composes. These elements in the overall design usually relate toeach other and to the whole art work.

The elements of design are:

Line — the visual path that enables the eye to move within the pieceShape — areas defined by edges within the piece, whether geometric or organicColour — hues with their various values and intensitiesTexture — surface qualities which translate into tactile illusionsTone — Shading used to emphasize formForm — 3­D length, width, or depthSpace — the space taken up by (positive) or in between (negative) objectsDepth — perceived distance from the observer, separated in foreground, background, and optionallymiddle ground

Line and shape

Lines are optical phenomena that allow the artist to direct the eye of the viewer. The optical illusion of linesdo not exist in nature, but in visual arts elements can be arranged to create this illusion. The viewerunconsciously reads near continuous arrangement of different elements and subjects at varying distances.Such elements can be of dramatic use in the composition of the image. These could be literal lines such astelephone and power cables or rigging on boats. Lines can derive also from the borders of areas of differingcolor or contrast, or sequences of discrete elements. Movement is also a source of line, and blur can alsocreate a reaction.

Subject lines contribute to both mood and linear perspective, giving the viewer the illusion of depth.Oblique lines convey a sense of movement and angular lines generally convey a sense of dynamism andpossibly tension. Lines can also direct attention towards the main subject of picture, or contribute toorganization by dividing it into compartments. The artist may exaggerate or create lines perhaps as part oftheir message to the viewer. Many lines without a clear subject point suggest chaos in the image and mayconflict with the mood the artist is trying to evoke.

Straight lines create different moods and add affection to visual arts. A line's angle and its relationship tothe size of the frame influence the mood of the image. Horizontal lines, commonly found in landscapephotography, can give the impression of calm, tranquility, and space. An image filled with strong verticallines tends to have the impression of height and grandeur. Tightly angled convergent lines give a dynamic,lively, and active effect to the image. Strongly angled, almost diagonal lines produce tension in the image.The viewpoint of visual art is very important because every different perspective views different angledlines. This change of perspective elicits a different response to the image. By changing the perspective onlyby some degrees or some centimetres lines in images can change tremendously and a totally differentfeeling can be transported. Straight lines are also strongly influenced by tone, color, and repetition inrelation to the rest of the image.

Compared to straight lines, curves provide a greater dynamic influence in a picture. They are also generallymore aesthetically pleasing, as the viewer associates them with softness. In photography, curved lines cangive gradated shadows when paired with soft­directional lighting, which usually results in a veryharmonious line structure within the image.

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Colour

Color is characterized by attributes such as hue, brightness, and saturation. Color symbolism assignsadditional associations, dependent on culture. For example, white has long suggested purity, but it can alsotake slightly different meanings such as peace, or innocence. However, in some places (for instance, Japanand China) it signifies death.

Principles of organization

Main article: Principles of art

The artist determines what the center of interest (focus in photography) of the art work will be, andcomposes the elements accordingly. The gaze of the viewer will then tend to linger over these points ofinterest, elements are arranged with consideration of several factors (known variously as the principles oforganization, principles of art, or principles of design) into a harmonious whole which works together toproduce the desired statement – a phenomenon commonly referred to as unity. Such factors in compositionshould not be confused with the elements of art (or elements of design) themselves. For example, shape isan element; the usage of shape is characterized by various principles.

Some principles of organization affecting the composition of a picture are:

Shape and proportionPositioning/Orientation/Balance/Harmony among the elementsThe area within the field of view used for the picture ("cropping")The path or direction followed by the viewer's eye when they observe the image.Negative spaceColorContrast: the value, or degree of lightness and darkness, used within the picture.Geometry: for example, use of the golden meanLinesRhythmIllumination or lightingRepetition (Sometimes building into pattern; rhythm also comes into play, as does geometry)PerspectiveBreaking the rules can create tension or unease, yet it can add interest to the picture if used carefully

Viewpoint (leading the eye)

The position of the viewer can strongly influence the aesthetics of an image, even if the subject is entirelyimaginary and viewed "within the mind's eye". Not only does it influence the elements within the picture,but it also influences the viewer's interpretation of the subject.

For example, if a boy is photographed from above, perhaps from the eye level of an adult, he is diminishedin stature. A photograph taken at the child's level would treat him as an equal, and one taken from belowcould result in an impression of dominance. Therefore, the photographer is choosing the viewer'spositioning.

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A subject can be rendered more dramatic when it fills the frame. There exists a tendency to perceive thingsas larger than they actually are, and filling the frame full fills this psychological mechanism. This can beused to eliminate distractions from the background.

In photography, altering the position of the camera can change the image so that the subject has fewer ormore distractions with which to compete. This may be achieved by getting closer, moving laterally, tilting,panning, or moving the camera vertically.

Compositional techniques

There are numerous approaches or "compositional techniques" to achieving a sense of unity within anartwork, depending on the goals of the artist. For example, a work of art is said to be aesthetically pleasingto the eye if the elements within the work are arranged in a balanced compositional way.[1] However, thereare artists such as Salvador Dalí whose sole aim is to disrupt traditional composition and challenge theviewer to rethink balance and design elements within art works.

Conventional composition can be achieved by utilizing a number of techniques:

Rule of thirds

Main article: Rule of thirds

The rule of thirds is a guideline followed by some visual artists. The objective is to stop the subject(s) andareas of interest (such as the horizon) from bisecting the image, by placing them near one of the lines thatwould divide the image into three equal columns and rows, ideally near the intersection of those lines.

Rule of thirds: Note how the horizon falls close to the bottom gridline, and how the dark areas are in the left third, the overexposed inthe right third.

The rule of thirds is thought to be a simplification of the golden mean. The golden mean is a ratio that hasbeen used by visual artists for centuries as an aid to composition. When two things are in the proportion of1:1.618 (approximately 3 to 5), they are said to be in the golden mean.

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Dividing the parts of an image according to this proportion helps to create a pleasing, balancedcomposition. The intersection points on a golden mean grid appear at 3/8 in and 3/8 down/up, rather than at1/3 in and 1/3 down/up on the grid of thirds.

Rule of odds

The "rule of odds" states that by framing the object of interest with an even number of surrounding objects,it becomes more comforting to the eye, thus creates a feeling of ease and pleasure. It is based on theassumption that humans tend to find visual images that reflect their own preferences/wishes in life morepleasing and attractive.

The "rule of odds" suggests that an odd number of subjects in an image is more interesting than an evennumber. Thus if you have more than one subject in your picture, the suggestion is to choose an arrangementwith at least three subjects. An even number of subjects produces symmetries in the image, which canappear less natural for a naturalistic, informal composition.

An image of a person surrounded/framed by two other persons, for instance, where the person in the centeris the object of interest in that image/artwork, is more likely to be perceived as friendly and comforting bythe viewer, than an image of a single person with no significant surroundings.

Rule of space

Main article: Lead room

The rule of space applies to artwork (photography, advertising, illustration) picturing object(s) to which theartist wants to apply the illusion of movement, or which is supposed to create a contextual bubble in theviewer's mind.

This can be achieved, for instance, by leaving white space in the direction the eyes of a portrayed person arelooking, or, when picturing a runner, adding white space in front of him rather than behind him to indicatemovement.

Simplification

Images with clutter can distract from the main elements within the picture and make it difficult to identifythe subject. By decreasing the extraneous content, the viewer is more likely to focus on the primary objects.Clutter can also be reduced through the use of lighting, as the brighter areas of the image tend to draw theeye, as do lines, squares and colour. In painting, the artist may use less detailed and defined brushworktowards the edges of the picture.Removing the elements to the focus of the object, taking only the neededcomponents.

Limiting focus

In photography, and also (via software simulation of real lens limitations) in 3D graphics, one approach toachieving simplification is to use a wide aperture when shooting to limit the depth of field. When usedproperly in the right setting, this technique can place everything that is not the subject of the photograph outof focus.

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A simple compositionwith cloud and rooftopthat creates asymmetry.

ImageA

The blurred background focuses the eye onthe flowers.

At a smaller aperture, the backgroundcompetes for the viewer’s attention.

A similar approach, given the right equipment, is to take advantage of the Scheimpflug principle to changethe plane of focus.

Geometry and symmetry

Related to the rule of odds is the observation that triangles are an aestheticallypleasing implied shape within an image. In a canonically attractive face, themouth and eyes fall within the corners of the area of an equilateral triangle.Paul Cézanne successfully used triangles in his compositions of still lifes. Atriangular format creates a sense of stability and strength.

Creating movement

It is pleasing to the human eye for it to constantly move around the image.Using the techniques stated above you can try to avoid a static composition. Inimage A the 2 mountains are equally sized and positioned beside each othercreating a very static and uninteresting image. In image B the mountains are differently sized and one isplaced closer to the horizon, guiding the eye to move from one mountain to the other creating a moreinteresting and pleasing image. This also feels more natural because in nature objects are rarely the samesize and evenly spaced.

Other techniques

There should be a center of interest or focus in the work, toprevent it becoming a pattern in itself;The direction followed by the viewer's eye should lead theviewer's gaze around all elements in the work before leadingout of the picture;The subject should not be facing out of the image;Exact bisections of the picture space should be avoided;Small, high contrast, elements have as much impact as larger,duller elements;The prominent subject should be off­centre, unless a symmetrical or formal composition is desired,and can be balanced by smaller satellite elementsthe horizon line should not divide the art work in two equal parts but be positioned to emphasize

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ImageB

either the sky or ground; showing more sky if painting is of clouds, sun rise/set, and more ground if alandscape

These principles can be means of a good composition yet theycannot be applied separately but should act together to form a goodcomposition.

Also, in your work no spaces between the objects should bethe same. They should vary in shape and size. That creates amuch more interesting image.

Example

These paintings all show the same subject, the Raising of Lazarus,and essentially the same figures, but have very different compositions:

Duccio, 1310­11

Geertgen tot Sint Jans, 1480s

Guercino, c. 1619

Rembrandt, c. 1630

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Wikimedia Commons hasmedia related toComposition.

See also

Miksang (contemplative photography)New Epoch Notation Painting (A notation system for painting)Page layout (graphic design)CLACL (CLAC­Language) (A Computer Language for composition)

References1. Dunstan, Bernard. (1979). Composing Your Paintings. London, Studio Vista.

Further reading

Arnheim, Rudolf (1974). Art and Visual Perception: A Psychology of the Creative Eye. University ofCalifornia Press. ISBN 978­0­520­02613­1.Downer, Marion (1947). Discovering Design. Lothrop Lee & Shepard. ISBN 0­688­41266­1.Graham, Peter (2004). An Introduction to Painting Still Life. Chartwell Books Inc. ISBN 0­7858­1750­6.Grill, Tom; Scanlon, Mark (1990). Photographic Composition. Watson­Guptill Publications. ISBN 0­8174­5427­6.Peterson, Bryan (1988). Learning to See Creatively. Watson­Guptill Publications. ISBN 0­8174­4177­8.Langford, Michael (1982). The Master Guide to Photography. New York: Dorling KindersleyLimited. ISBN 0­394­50873­4.

External links

Percy Principles of Art and Composition(http://www.goshen.edu/art/ed/percy1.html), Goshen CollegeArt Department

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Categories: Artistic techniques Photographic techniques Composition in visual art

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