The most important means for organizing various elements of the form in harmonious unity, for ordering each of them and the exact location in the overall structure is the rhythm in the composition, which is inherent in all forms and phenomena of nature, even labor processes. The composition of life in all its diversity, of course, is rhythmic.
What is a rhythm?
In the composition, this is the uniformity of the alternation of size elements, the order of the combined lines, planes and volumes. The rhythm can be shown both chamberly and monumentally, it can influence the mood, filling it with joy, solemnity, peace and so on. All human feelings are subject to rhythm, it is perceived both visually and by ear. Moreover, any static subject is rhythmic in its own way. For example, in architecture, the distribution of columns, windows vertically or horizontally - this is the sustained rhythm in the composition. It is everywhere in nature: it is waves on the river, and the surf, and raindrops, and gulls above the water - you can find the rhythm anywhere, wherever your eyes fall.
Or the repeating motifs of the ornament of fabric, wallpaper, carpet - they are absolutely rhythmic. But the rhythm is especially pronounced in the composition, if nature was its creator - its animal and plant world is unique and infinitely rhythmic. As the eye follows obediently from stripe to stripe on the cat's face, with each repeated element more and more clearly perceiving these rhythm and meter in the composition. In the same way, dance elements hold together, the dimension of a poem read aloud, music heard. And how rhythmic the facets of a diamond in a precious ring are!
Capabilities
Composition, dynamics, rhythm - all these are quite specific means that allow you to significantly change the characteristics of form elements through the pattern of alternating articulations, volumes, faces, and therefore they are used not only and not so much by painters as designers who invade our everyday and festive life - home and production, social and intimate.
The pattern of the plaid, the ornament of the vase, the cherries on the cake, as well as the slender rows of the looms in the weaving mill and the painting of the walls and ceilings in the workshop are rhythmic, even the buttons on any control panel are rhythmic. The simplest manifestations of rhythm and the most complex ones are equally realized in characteristic repetitions of the same forms at the same intervals (antique columns, for example, and balconies and windows of any building), this can be observed everywhere. Rhythm is a means of composition, it can be calm and disturbing, directed in different ways, depending on what the creator set for himself.
Using
The rhythm directed in one direction, which occurs in the technique of ornamental border and converges in the center, like the patterns of a tray, tablecloth, stucco rosette on the ceiling or a pattern of a casket, can be vertical and horizontal. The vertical has less compositional difficulties, since all changes in rhythm already contribute to visual completion. And horizontally, composition is more difficult to line up - rhythm, symmetry are problematic both at the beginning and at the end.
If articulations occur frequently, the rhythm turns out to be restless, horizontally they visually reduce the height of the object, vertically - on the contrary, the object looks even higher. The desired can be obtained only with the correct use of all those possibilities that the artist conveys to the rhythm, which must be definitely thought through and felt: this is an alternation of color spots, volumes, elements, details that direct the movement of the gaze according to the plan. Everything is important here: form, rhythm, color, composition, dynamics, space.
Organization of composition
The stronger the rhythmic pattern in the composition, the more actively the space is organized. The rhythm is less pronounced if changes in alternations or in the form of the elements themselves are not noticeable, but if the changes are active, then the rhythmic beginning can become fundamental in the composition. For example, color is used very widely to create rhythm: in production this is often played out in the coloring of premises, workplaces, communications, even uniforms. Thus, a certain color climate is created.
The simplest forms of rhythm, as well as symmetry, are loved by Russian folk art. More complex rhythmic patterns can be characterized by the regularity of changes in forms, as well as intervals between forms, or both changes simultaneously. The meter, that is, the equality of elements that are located at equal distances, like spans of bridges, is very actively collaborating with rhythm. Three categories come from here - rhythmic order, metric order and metro-rhythmic order, which determine the types of rhythms in the composition.
Metric orders
An endless repetition of one or another metric series can quickly get bored, seem tedious and monotonous. To solve this problem, there are decreasing and increasing rhythms, as well as different metric orders in compositional combination. Using these techniques, you can achieve the necessary diversity and not lose unity. It must be remembered that rhythm is the movement of a composition.
The definition of rhythm is the alternation of elements. When it comes to composition, uniformity is needed. And the uniformity of the alternation of elements in the composition is called a meter. The easiest meter is the same elements and spaces in size. If the intervals change, the complexity and expressiveness of the rhythm increases. Alternation can occur with regular acceleration or deceleration, as well as without regularity and regularity, when there is no meter between the elements. However, a rhythm will be present in this composition.
Composition in the interior
It is not enough to find beautiful parquet and wallpaper, buy lamps and arrange furniture to get an extraordinary and at the same time harmonious interior. Otherwise, the room may well turn out to be similar to a branch of a furniture store. Here it is necessary to use the laws of building an artistic composition. What is it?
This is the connection of all the present parts into one whole with the help of some idea. Then the form will be accurate and harmonious. For the interior design you need the same knowledge as for writing an oil painting. First an idea comes up. Here any of these concepts can serve as an idea: symmetry, asymmetry, dominant, rhythm, static, dynamics. You can choose one thing. And then think and add something else.
Symmetry
When the elements in the composition are equally removed relative to the axis, this is symmetry, which is usually perceived by the eyes as orderliness and harmony. Man was born symmetrical, which is why he is striving for some kind of mirroring in his environment.
However, the balanced interior is not two identical sofas, facing each other. The tone and scale are important here. The symmetry is also affected by the location of architectural details - doors and windows, corners and niches.
Asymmetry
The asymmetry in structure is the opposite, which means that it must unconsciously cause some kind of anxiety. Wavy walls, sharp corners, inclined planes and should strain. For example, a residential interior is not a very fertile field for experiments, and therefore it is better to fill the space symmetrically, but add asymmetry to the decor.
You can diversify the picture of the interior, contrasting the massive furniture and medium-sized (scale), you can combine dark surfaces with light, muted colors with bright. If the furniture is not installed symmetrically for some reason, then a center that attracts the eye is needed - a group of lamps or a fireplace.
Rhythm and dominant
A movement that can be continued indefinitely - this will be the rhythm in the interior. Horizontally are belts, friezes and cornices, vertically - arches and columns. In the interior, this is a group of furniture that most often sets a certain rhythm. Great reception - interruption in rhythm. For example, in a row of white identical chairs, suddenly one is the same, but black or colored. A rhythmic composition is good if the color fades away, not moving away, but approaching the viewer.
The dominant is the visual center, the first that catches the eye, only then the person begins to see and consider the rest. The dominant can be expressed in color or in scale. Nevertheless, the dominant must necessarily be in close connection with the rest of the elements, otherwise the composition will fall apart. That is why the color of the dominant must be supported by accessories or textiles. And of course, the dominant is not at all the center in the literal sense of the word, that is, it can be located anywhere, and not at all in the center of the room.
Statics and dynamics
Statics - the absence of diagonals and non-linear surfaces where horizontal elements prevail: low cabinets, heavy and deep sofas - everything that falls into view looks stable and squat, stable and balanced. Most often, interiors are decorated in a classic style. However, a static interior does not mean boring. Usually there are a lot of possible experiments on decorating and selecting accessories.
In the room where the presence of youth and fun is supposed, it is possible and necessary to add elements that accompany the dynamics, that is, the movement. Here, asymmetric arrangement of furniture, clear geometric shapes, a lot of free space, diagonals in the layout of tiles or parquet are used. Vertical lines will create a feeling of lightness, flight, upward aspiration. Dynamic interiors love modern style, since the violated laws of composition in interiors appeared recently - in the twentieth century.
Artists
Painters use rhythm not only as the beginning organizing the composition, but also as an aesthetic component of the entire work. It is with the help of rhythm that it acquires musical and poetic properties that are inseparable from artistry. The effectiveness of the rhythmic principle is based on the main laws of composition, on contrasts - color and tonal in painting and voluminous in sculpture. At the same time, rhythm separates one component from another, and binds them together - all according to the law of contrast. From this comes the law of wholeness, and even the compositional law of life itself.
The artist penetrates the internal movement, not limited to the external. With the help of rhythm, that is, a certain order in the image of ordinary objects, the aesthetic side of the depicted is emphasized, the beauty of both familiar objects and new ones is revealed.
Each piece is the discovery of a new picture of the world, and one foreseen, and this foresight is born from the work of the rhythmic principle. A repeat, constantly present, recalls the past and prepares for the next.