The term "composition" means the combination of certain elements into a single harmonious whole. This concept is equally successfully applied both in the exact sciences and in the theory of art in general. The balance in the composition is one of two indispensable conditions for its presence. The second is a combination of all the constituent elements of an object in a single form. Since both art and architecture or engineering strive for harmony, seeing in it their main and immutable goal, the fulfillment of these two conditions is the only true construction of the composition.
General theoretical concepts
The science of composition isolates its three varieties, which in practice are often closely interrelated and complement each other, sometimes giving the most unexpected and multifaceted combinations. The result is the masterpieces of culture. These include: frontal, volumetric and deep spatial composition.
For all the complexity that any painting, structure, or other creation demonstrates as a result of an act of art, it must be balanced, which is primarily expressed in the visual stability of the complex of its constituent elements. At the same time, far from always talking about strict symmetry. The equilibrium in the composition is the balance of all parts (as well as fragments made up of them) relative to the center. Moreover, the need to achieve such sustainability is obviously dictated by nature itself. This can be proved by the fact that the animal, plant, and even inanimate world are inherent in equilibrium in composition. Examples of it are everywhere: maple leaf, snow crystal, mollusk shell, etc.
A person with artistic thinking intuitively searches for harmony in the arrangement of elements. This desire has been traced in the history of world culture for millennia. In particular, it is expressed in a craving for symmetry, which proves, for example, the visual balance of the masses in the composition of ancient Catholic cathedrals, cross-domed churches of Ancient Russia and, of course, in the ensemble of Egyptian pyramids.
Symmetry and asymmetry
As you know, absolute proportionality in nature does not exist. Also, there is no complete asymmetry in it. However, the fact of the mirror principle of the structure of the absolute majority of living things (as well as many elements of inanimate nature) indicates that everything in the world is striving for proportionality. Human creations gravitate towards it.
The equilibrium of masses in the composition is achieved by the correct arrangement of its elements on a plane or relative to a central point. Symmetry is its most contrasting quality. Its mirror type mentioned above is considered the most widespread both in the miraculous nature and in art. Its essence is a close to equal ratio of the parts of the object relative to the vertical or horizontal axis.
Such types of equilibrium of the composition, such as axial and helical symmetry, are formed by rotations around the axis. In the first case, when turning, various elements can be combined repeatedly. In the second, through various kinds of artistic techniques, dynamics is created - a spiral movement around a static axis.
However, one should not assume that the artist can achieve harmony in his creation only by strictly following the norms of proportionality. One of the ways to achieve it in art, architecture, prose, and poetry is asymmetry, which is also part of the foundations of composition. Balance in the absence of formal equality of elements allows you to achieve the correct arrangement and combination of all parts of the object by their color, tones and mass. For example, we can observe such tricks in the paintings “Landscape with Polyphemus” by Poussin and “Madonna in the Grotto” by Leonardo da Vinci.
Scale value
The visual equilibrium of the masses in the composition in the complete absence of symmetry is also applicable in architecture. A sample of it can serve as the Cathedral of St. Andrew, which has disproportionate towers (one of the characteristic features of the Victorian style). Asymmetry is a more complicated technique in art and, unlike the mirror method, is read gradually. Being a way of conveying the artist’s intention and striving for its most vivid expression, disproportion reveals a dynamic balance in the composition. Demonstrating the balance of different elements of varying degrees of massiveness, it creates the illusion of their movement within common boundaries.
The actual massiveness of objects is read solely by comparing them, and in the process of evaluation they use the term “scale”. To create a compositionally correct asymmetry, great importance is removed to the smallest details as an effective means of artistic expression. At the same time, using scale, it is impossible to avoid proportions, since they are closely related. Therefore, this is the most complex law of equilibrium in composition.
The principle of proportion is to maintain a constant relationship between two or more quantities. By increasing one to certain limits, the other should be increased by the same factor.
Geometry in art
Compliance with the above rule allows you to achieve proportionality and complete harmony of the elements in relation to the parts and core of the subject. The principle of proportion is a classic among a number of universal tools used by composition. There are many scientific works on the subject of “Balance in Graphic Art and Architecture”.
So, as the absolute proportion, many centuries ago the so-called golden ratio was discovered. This term was introduced into widespread use by the great genius Leonardo da Vinci. This proportion implies a balance in the composition, mathematically expressed by the number 1.62. Graphically, it is transmitted by constructing a geometrically ideal five-pointed star, each side of which can be conditionally divided into two parts. In this case, the resulting parts are correlated with each other in the proportion of the "golden section".
The secret of this proportion, according to scientists, was known many millennia ago. The result of applying this formula is precisely the equilibrium in the composition, examples of which our era inherited in the form of such grandiose structures as the Parthenon and Egyptian pyramids. Buildings made in the same proportions are also available in India and China, in Italy and in Greece.
Figures in painting
In search of the most expressive schemes, artists of all centuries have been reverently handling every significant detail in the plot, creating the composition. The balance of geometric figures is based on the art of most masters of both the Renaissance and the times of early classicism. So, for example, in N. Poussin’s painting “Landscape with Polyphemus” two compositional details are large small triangles inscribed one into another. Whereas the characters of Leonardo da Vinci's painting “Madonna in the Grotto” easily line up in a pyramid, the top of which is the Virgin herself.
To convey a motionless image to an artist helps such a technique as static composition, the balance of geometric shapes in which is achieved by drawing all the lines to the core of the image. An example of such a solution is icon painting, where the most common arrangement of plot elements is in the shape of a circle, square or rectangle, and strict symmetry is often traced.
Staticity is necessary for the transmission of a state of rest, closed space. Such a composition is necessary in subjects that do not imply dynamics. So, in the painting “Portrait of Ksenia Tishinina” by I. Vishnyakov, even the figure of the heroine herself forms a clearly defined regular triangle and is the only element spelled out in bright colors.
Schematic of an open composition
With the advent of the Renaissance, the very concept of attitude was radically changed. The boundaries of human consciousness have increased significantly, which is naturally reflected in painting, music, literature and architecture. The extremely limited world expanded to infinite limits, and the closed composition was replaced by an open one.
Moving towards comprehension of harmony in each picture, the artist naturally focuses on purely personal sensations and appeals to his imaginative thinking. Although the act of creativity itself cannot be analyzed, most of the techniques used can be read and considered in more detail. In particular, this applies to artistic schemes, due to which a balance is achieved in the composition. Examples of drawings, the plot of which includes extensive landscapes with a large list of diverse details, make it possible to clearly observe the competent ratio of various parts in a single structure.
The importance of detail when equilibrium is reached
One of the most significant works in this sense are the paintings of Velazquez. So, in his wonderful work, “Delivering Delirium,” the balance of muddy and light spots, bright and neutral shades, a combination of massive details and competent prescribing of the plan are surprisingly clearly traced.
The main plot element is located exactly in the middle of the canvas. Heroes deployed to each other. The winner’s head is slightly higher than the head of the defeated opponent and looks like a bright spot on the dull background of bored soldiers and a greenish distance. The figure of the governor, handing a symbolic key to the fallen city, is written on a light background. He is somewhat dark, and his face is framed by a snow-white collar. Similar contrasts can be seen throughout the canvas.
One diagonal line is formed by a scarf, which bandages the winner from shoulder to hip, and the other - the banner of the defeated opponent and the line of hands of the main characters. A visual feeling of the depth of the picture is achieved thanks to several light strokes - the horse's head to the left of the governor and the white shirt of the warrior next to it.
"Surrender of Delirium" is a canvas that demonstrates the basic rules of composition. Balance on it is achieved through the development of several plans, crowned by the prospect of distance.
Chronotope principle
Equilibrium in the composition can also be achieved by depicting ongoing events in the picture. This technique was used with great success by ancient Russian artists. So, Novgorod painters of the late Middle Ages created a carved painting in colors, the plot of which was based on the famous battle between the Novgorod army and Suzdal. In this work, a three-tier composition was applied: in a row (from top to bottom) three independent drawings were made, each of which showed a separate episode. Moreover, being strictly one above the other, they represent a single picture.
A similar and no less common method of solving compositional issues is the creation of an image, the basis of which is events that occurred in different places and at different times, but connected by a single storyline. Often this picture is a large canvas with a central episode in the middle and many small fragments located around. As a rule, such works belong to the genre of icon painting or simply to works on religious subjects, a striking example of which can be canvases by Jerome Bosch.
Composition in decorative art
The methods and methods used to convey the artistic conception vary depending on the type of art in which the author works. In this case, of course, similar or even general patterns can be observed. However, each craft is special and specific, and therefore each of the means of constructing the composition can very well be applied in different ways.
The painting should be organic and with maximum naturalness combine all the elements without imposing an idea. And if the standard picture has as one of its goals the transfer of the illusion of space in its volume and depth, then in the folk art, the master seeks to emphasize the relief and detail, using his own special methods. The techniques of decorative creativity are fundamentally different from the methods of constructing the composition, which are used by the classical artist. For example, since the depicted landscape cannot be shown in its depths, the master places the distant plan directly above the neighbor. Such methods were also used by ancient Russian icon painters.
It is precisely because of their greater visibility and obviousness that the techniques of masters of decorative and applied art and icon painting become the object of study in the classes of fine art in elementary grades. The basis of the lesson plan, as a rule, is the definition of the concepts of "rhythm" and "form" - objects that ensure balance in the composition (Grade 2).
Techniques for building a composition
The tasks that his painter sets for his work require the only correct solutions. This also applies to techniques that are used in the construction of the composition. The methods used by each individual artist must be original and innovative.
In order for the composition rules to be observed, much should be taken into account:
- mass of described items;
- the dimensions of each and (based on this) their location on the sheet;
- rhythm of lines and color strokes;
- a way to convey the point of view of the author;
- methods by which space is described.
Of great importance is also how clearly the silhouettes of characters are prescribed taking into account the set of colors of the whole picture. Composition is a kind of special professional tool of the artist, with the help of which he manages to convey his vision of the world around him, his own sensual ideas, associations, impressions, etc. These skills are honed by each master from year to year.
Work on the composition
Any artistic image is worked out by its author in advance and for a rather long time. The truly correct construction of the composition obliges the artist to possess such skills to perfection. Therefore, the ability to apply the necessary techniques for this should be constantly honed.
In order to comply the balance of the main elements of the composition on the sheet, you must have real professionalism. Even a simple dot, placed on the white surface of the paper, causes the artist many questions, because the impression of it will vary depending on where it will be located. The same applies to any other object located on the canvas.
The basic rules and techniques for constructing the composition are the fruit of a vast history of fine art. However, from century to century they are replenished with the rich experience of new generations of artists. The composition technique changes, develops and always corresponds to the creative position of the masters of each particular generation.
Equilibrium transfer
With a pronounced symmetry, the details of a painting or other artistic object are compositionally balanced. As for the asymmetric image, its elements can be located relative to each other both in balance and out of it. To do this, there is a whole list of techniques: an extensive smear of light shades can be balanced by a small dark spot; one large one acts as a counterweight to a number of small spots, etc. Thus, different parts of the canvas are balanced depending on their size, weight, tones and other characteristics.
In addition, not only fragments (characters, details of the surrounding space, etc.) should be balanced, but also the space between them. Moreover, compositional equilibrium should not even be compared with the mathematical equality of values. The ability to intuitively feel it is either given by nature, or can be developed over time in the process of tireless work. As for the asymmetric picture, the semantic center in it is either located at the edge of the image, or is completely absent.
The balance of the composition in any case depends on:
- the correct location of massive image details;
- plastics and rhythms of artistic writing;
- the proportions in which each fragment of the canvas is prescribed;
- competently selected tones and colors of the picture.
Construction principles
The equilibrium of the basic elements of the composition on the sheet is achieved by strictly following the basic principles of their connection. The first of which (and not the most obvious) is expediency. , , , , - , . .
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- Appropriate overlay of objects allows emphasizing plans. In addition, this technique gives a sense of the depth of space and gives the image volume.
- Respect for the unity of form and character involves working in the same manner and style. Lines and plastic elements must be combined with each other. Colors must be selected in one key and repeated as necessary. The same goes for texture.
- A generalizing form should be present in the composition, while the graphic-expressive solution of the picture should also be monotonous.
In addition, in order to achieve integrity and compositional balance, it is necessary to observe a strict sequence of actions at all stages of the creation of work. To begin with, you should carefully consider the plan of the work. Having developed all the structural elements of the composition, it is necessary to determine the degree of correlation of its main parts. To make this possible, plastic masses of the image are combined, the silhouettes of which can then include details.