home-Skirts-Basics of composition. Fundamentals of composition theory Fundamentals of composition - static equilibrium and dynamic equilibrium

Basics of composition. Fundamentals of composition theory Fundamentals of composition - static equilibrium and dynamic equilibrium

Before starting a conversation about composition, we should define this term.

V.A. Favorsky says that “One of the definitions of composition will be the following: the desire for compositionality in art is the desire to holistically perceive, see and depict multi-spatial and multi-temporal... bringing to the integrity of the visual image will be composition...” V.A. Fovorsky, About composition.-Journal. , “Art”, 1933, .№ 1.. Favorsky identifies time as a compositional factor.

K.F. Yuon sees in composition a design, that is, the distribution of parts on a plane, and a structure that is also formed by plane factors. Yuon not only talks about the synthesis of time. As a feature of composition, he also assigns a subordinate role to space as a means that only complements the composition. Yuon, About painting, M..1937

L.F. Zhegin, B.F. Uspensky believe that the central problem of the composition of a work of art, which unites the most diverse types of art, is the problem of “point of view”. “...In painting... the problem of point of view appears primarily as a problem of perspective.” In their opinion, works that synthesize many points of view have the greatest compositionality. B.A. Uspensky, Poetics of Composition, M., 1970. Thus. The problem of composition in painting is the problem of constructing space.

Volkov N.N. believes that in the most general sense, a composition could be called the composition and arrangement of parts of a whole that satisfies the following conditions:

1. no part of the whole can be removed or replaced without damage to the whole;

2. parts cannot be interchanged without damage to the whole;

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

Obviously, the abstract definition of composition is suitable for such works as easel painting and easel sheet. It is notoriously difficult to fragment a picture. A fragment often looks unexpected and unusual. Even enlarging the picture on the screen, when minor parts seem completely empty, or reducing it in reproduction, when details disappear, even a mirror copy - for some reason they change the whole.

The given formula, in the author's opinion, is too broad to be a definition of composition. She lists only its necessary features that are included in the general concept of integrity. Using this formula, it is impossible to distinguish compositional unity from non-compositional unity in a specific phenomenon.

“In order to create a composition or see a composition in random groups. It is necessary to bind all groups by some kind of law, an internal connection. Then the groups will no longer be random. You can organize the rhythm of a group, create a pattern, achieve similarities between groups of grains of sand and objects, and finally take the path of a pictorial image. By doing this, we pursue the goal of uniting the elements of a random unity with connections that create a logical whole.” Volkov N.N. Composition in painting. M., Art, 1977. p.20.

So, the composition of the picture is created by the unity of meaning that arises in the pictorial presentation of the plot on a limited piece of plane. In art history literature they usually talk about the unity of form and content, about their dialectics. Individual content components can serve as forms for other components. Thus, in relation to the “geometric” forms of distribution of spots of color on a plane, color acts as content. But it itself is also an external form for conveying objective-expressive content and space. Subject content, in turn, can be a form of ideological content, a form for abstract concepts. Unlike the objective components of the content, the meaning of a picture exists only in its language, in the language of its forms. Meaning is the inner side of a holistic image. Verbal analysis of meaning can only be interpretation: analogization, contrast, comparison. Understanding the meaning of a picture is always richer than its interpretation.

According to Volkov N.N., the analysis of composition as the composition and arrangement of parts of the image and the system of image means should be considered insufficient, regardless of its meaning. The stylistic understanding of the laws of composition as laws of unity of external, including constructive forms, does not penetrate into its formative code.

In addition, he considers it insufficient to analyze the composition only from the side of the subject-visual content. This is, of course, the most important component of a painting as fine art. But the content of the picture certainly includes emotional content. Sometimes the content becomes symbolic. Sometimes the picture becomes an allegory. Behind one subject content, another is hidden in the subtext. However, no matter how complex the content. It is certainly collected into a single image, connected by a single meaning, and this connection finds its expression in the composition.

“The nature of compositional means depends on the nature of the content. In the complex unity of visual, ideological, emotional, symbolic, individual components of content may be the main ones, others may be secondary, or may be completely absent. If allegory is present in the landscape, it is ridiculous to look for symbolic subtext, allegory. If allegory is present in the landscape, then the type of composition and compositional connections will be different. At the same time, the lyrical sound and emotional tone in the range of contemplation and admiration will lose power.” Right there. P. 33.

Volkov N.N. considers non-figurative painting as an example of the limitations of compositional means due to inferior content. He believes that in a work of non-figurative painting there is no compositional node, because there is no semantic node. At best, the meaning is guessed in the author's title. In a well-composed picture, the compositional and semantic center is easily found, regardless of the author's title. The experience of constructing the laws of composition using examples of a geometric version of non-figurative painting reduces composition to correctness, regularity, and balance. The composition of the painting is most often unexpected, does not seek a balance of elementary forms, and establishes new rules depending on the novelty of the content. This is the case when form, as a “transition” of content into form, becomes pure form, denying its essence of being a “form of content.” This is the case when constructive connections are meaningless, when the construction is not needed to express meaning.

The painting, like other works of art, believes N.N. Volkov, consists of various components of the form welded together. Some of them work for meaning, others are neutral. Some components of the form actively build compositions, others “do not work” on the meaning. Only those forms and their combinations that work for meaning in any of its significant sections for meaning should be taken into account in the analysis of the picture as compositionally significant forms. This is the main thesis and main position of the author.

The linear-planar arrangement of groups is a traditional motive for art historical analysis of composition. However, both linear means and flat geometric figures that unite groups of characters can be both compositionally important and compositionally neutral if the unifying line or contour of the flat figure is not very clear. Any picture can be drawn with geometric patterns. It is always possible to find simple geometric figures into which individual groups approximately fit; it is even easier to find unifying curves, but Volkov N.N. believes that these figures are not essential for the overall meaning of the picture.

Planar factors become means of composition if they work on the content, highlighting and collecting the main thing in the content. Perhaps it is precisely the clear symbolic and emotional echoes of characteristic formats that overly balanced formats such as the exact square and circle interfere with, if they are not imposed by architecture.

“The organization of the picture field in the interests of the image solves the following constructive problems:

1. highlighting a compositional unit in such a way that it attracts attention and constantly returns to it;

2. division of the field such that important parts are separated from each other, making one see the complexity of the whole;

3. maintaining the integrity of the field (and image), ensuring constant connection of the parts with the main part (compositional node)” Ibid. pp. 56-57.

The organization of the picture field is the first constructive basis of the composition. By distributing the plot on a plane, the artist lays out the first paths to meaning.

We call the compositional node of a picture the main part of the picture, which connects all other parts in meaning. This is the main action, the main subjects. The purpose of the main spatial movement or the main spot in the landscape that collects the color system. Fovorsky, B.A. About composition / B.A. Favorsky.// Art - 1933 - No. 1.

The position of the compositional unit in the frame in connection with the function of the frame, argues N.N. Volkov, in itself can become the reason for its selection. Of course, it is no coincidence that the position of the compositional unit in the center of the picture is in the Russian icon, and in the compositions of the early Italian Renaissance, and in the late Renaissance, and in the Northern Renaissance and beyond. So, with any method of depicting space, a picture is built inside the frame; the coincidence of the central zone with the first and main zone of attention, Volkov believes, is completely natural. Starting from the frame, we strive to cover, first of all, the central zone. This is the constructive simplicity of the central compositions. For the same reasons, central compositions are almost always compositions approximately symmetrical relative to the vertical axis. These are, for example, the various versions of the Old Testament “Trinity” in Russian and Western painting.

But the center of the composition is not always filled in visually. The center can remain empty, be the main censor in the rhythmic movement of groups on the left and right. The empty center stops attention and requires comprehension. This is a compositional sign of a semantic riddle. This is how many conflict issues were resolved. As an example, Volkov N.N. gives versions of the scene “Francis renounces his father” by Giotto and artists of his circle.

“The center of the frame is a natural area for placing the main subject, the action. But compositional dialectics also suggests the expressiveness of violations of this natural compositional course. If the meaning of the action or symbolism requires the displacement of the compositional node outside the central zone, then the main thing should be highlighted by other means” Volkov N.N. Composition in painting. M., Art, 1977. From 58.

It is impossible to create a completely indifferent, completely disordered mosaic of spots and lines.

In any chaotic mosaic of spots, despite our will, perception always finds some order. We involuntarily group spots, and the boundaries of these groups most often form simple geometric shapes. This reflects the initial generalization of visual experience, its peculiar geometrization.

Volkov N.N. states that in art historical analyzes of composition and in compositional systems we constantly encounter the principle of highlighting the main thing, united through a simple figure, like a triangle, and a triangular group of spots will immediately appear and stand out. Everything else in relation to it will then become a more indifferent field - the background.

“The classic compositional triangle or circle simultaneously performs two constructive functions - highlighting the main thing and combining” Ibid. P. 69.

In analyzes of composition, we most often encounter precisely these two geometric figures and with the indispensable desire of art critics to find either one or the other. Meanwhile, there are, of course, many more geometric schemes of unification and dismemberment, and the desire to necessarily find one of these two schemes easily leads to the identification of false figures that are not justified by the content of the picture.

The author also highlights such a concept as rhythm, which is of no small importance in composition. The complexity of the problem of rhythm in a picture and the complexity of its schematic representation lies in the fact that not only construction on a plane is rhythmic. But also building in depth.

Volkov N.N., in addition, notes that the complexity of the problem of rhythm in the picture and the complexity of its schematic representation lies in the fact that not only construction on a plane is rhythmic, but also construction in depth. Curves that clearly express rhythm in the frontal plane should in many cases be supplemented with curves that express movements and grouping “in plan.”

It is easier to talk about rhythm in painting in cases of simultaneous distribution of objects, characters, and forms; it is easy to justify the difference between a clear rhythmic structure and a rhythmically sluggish one. In the case of a two-dimensional distribution over the entire plane, one has to rely on a hidden metric, on a scale, and even on a single law of some form of the prototype, felt in its moving variations.

Volkov sees a natural analogy for such rhythmic phenomena in the pattern left on the sand by rhythmically flowing waves. It is the result of the interval between waves, the height of the wave, and the shape of the sandbank.

“Along with the rhythm of lines, which extends to the entire plane of the picture, we should also talk about the rhythm of color - color series, color accents and the rhythm of strokes of the artist’s brush, the uniformity and variability of strokes across the entire plane of the canvas.” Ibid. P. 70.

The clearest example of linear and color rhythm is the painting of El Greco. The single principle of shaping and the variability of forms of a clearly constructive and, of course, semantic nature make his canvases examples of end-to-end rhythm throughout the entire plane.

The rhythm of brush strokes is clearly expressed in masters with an “open” texture, for example in Cezanne. And this rhythm is also subordinated to the image.

Thus, according to the theory of N.N. Volkov, the composition of the picture is created by the unity of meaning that arises in the pictorial presentation of the plot on a limited piece of plane.

Imagine that in front of you is a flat sheet of paper that is absolutely not filled with any image elements. It’s easier to say - a blank slate. How is it perceived by us? Naturally, the plane of the sheet does not carry any information; we perceive it as meaningless, empty, and unorganized. But! One has only to apply any spot, line, or stroke on it and this plane begins to come to life. This means that our pictorial elements, any - a spot, a line, a stroke - enter into a spatial connection with it, forming some kind of semantic connection. It’s easier to say - the plane and any element on it begin to interact, conduct a dialogue with each other, and begin to “tell us” about something.

This is how we get the most primitive composition, which is difficult to even call it such, but this is what it is.

Further. You and I have one universal tool given to us by nature, these are our eyes, our vision. So, our eye sees and perceives the world around us in proportions and proportions. What does it mean? Our vision is capable of feeling harmony and what is not harmonious. Our eye is able to find the difference between the discrepancy between the sizes of individual parts and the whole, or vice versa - to see complete compliance. Vision is capable of perceiving combinations of colors that do not irritate the eyes or, on the contrary, may turn out to be completely disharmonious. I will say more, our natural instinct from the very beginning, whether you like it or not, strives for a feeling of harmony in everything. And it subconsciously obliges, by feeling, to arrange objects and their parts so that not a single part of the composition turns out to be alien or disproportionate. You just need learn to listen to your feelings and understand how to achieve harmony, that is, to create a good composition. I love it.

Go ahead. Let's take some shape, for example a circle, and try to place it in different places on the plane of the sheet. We can see and feel that in some cases he will occupy a more stable position, in others - an unstable one. Figure on the left: look at how our vision works - it would seem that the most stable place for a circle is the coincidence of its center with the geometric center of the sheet plane (by drawing diagonal lines from corner to corner of the sheet, we get the center of the sheet at the intersection of these lines). However, that's not all. Due to an optical illusion (the eye slightly overestimates the upper and underestimates the lower part of the plane), the circle is perceived to be slightly shifted down. Do you feel how the circle seems to be attracted to the base of the square? The circle is not clearly felt either in the middle or below, and this results in a misunderstanding of its position and a feeling of disharmony. How to achieve harmony? In what position should the circle be in order for us to perceive it harmoniously in the plane of the sheet? Naturally, it needs to be moved up a little. See the picture on the right. Do you feel the circle is in a stable position? It occupies exactly its place in the square. Thus, our simplest composition will be more harmonious, and therefore more correct.
Understanding: the plane and the object form a certain conditional spatial connection that we can correct.

Our plane initially has a certain conditional structure, even if there is not a single element on it yet. The plane can be divided into axes - horizontal, vertical, diagonal. We get the structure - look at the picture on the left. In the center of the plane (geometric center), all the forces of this hidden structure are in a state of equilibrium, and the central part of the plane is perceived actively, and the non-central parts are perceived passively. This is how we feel. This perception of conditional space is how our vision strives to find peace. This understanding is rather conditional, but true.

The eye strives to see harmony in what it observes; it determines the center of our composition, which for it seems more active, everything else is more passive. This is what only the study of one clean plane of the sheet can give us. Moreover, this is something that only the study of one square shape of the sheet plane can give us. But the principle is the same. This is what concerns the structure of the sheet plane.

But this would not be enough to dissect a plane or create a composition from one element on a sheet. It's boring and no one needs it, neither you nor the viewer. There is always more, more varied and much more interesting.

Now let's try to compose another composition, but with several participants. See the picture on the left. What do we see, what do we feel? And we feel that our composition is not harmonious, because its individual parts are not balanced. Objects are strongly shifted to the left, leaving empty, unnecessary, unused space on the right in the composition. And the eye always strives to balance everything and achieve harmony. What do we need to do here? Naturally, balance the parts of the composition so that they harmoniously form one large composition and are part of one whole. We need to make sure that our vision is comfortable.

Look at the picture on the right. Is this how you feel more harmonious? I think yes. What does it mean? When visually perceiving the elements and plane of the sheet and when analyzing their connections: the influence of the internal forces of the structure of the plane on the nature of the behavior of the pictorial elements is felt. What does it mean? Our elements participating in the composition interact with the conditional diagonal, vertical and horizontal axes of the plane. We have achieved stable visual balance of all components of the composition relative to the geometric center. Even if not a single figure here is in the middle, they balance each other, forming together a center where vision expects it, which is why looking at this drawing is more comfortable than the previous one.

And if you add a few more elements, then in this case they should be somewhat weaker in size or tone (or color) and in a certain place, so as not to visually disrupt the geometric center of the composition, otherwise you will have to change the arrangement of the elements in order to achieve harmony again, that is, harmonious perception. This is about the concept - geometric center of the composition, which we have now introduced into study.

You should always strive for stable visual balance of all components of the composition in its various directions - up and down, right and left, diagonally. And the composition should be harmonious from any position, in any rotation - turn your composition upside down, or 90 degrees, it should also be pleasant to view, without any hint of discomfort. And it’s easier to assume that the geometric center of the composition is at the intersection of the diagonal lines or a little higher, it is in this place that the eye, after viewing the composition itself, whatever it may be, ultimately stops and finds “rest”, calms down in this place, even if there is no object on it. This is a conditional place. And a harmonious composition is considered to be one when there is no longer any need to introduce new elements or remove any from it. All the “persons” participating in the whole composition are subordinated to one common idea.

Basics of composition - static balance and dynamic balance

The composition must be harmonious and its individual sections must be balanced. Let's move on and look at the following concepts:

Static balance And dynamic balance. These are ways to balance the composition, ways to create harmony. The methods are different, as they affect our vision differently. Let's say we have two compositions. We look at the picture on the left: what do we have? We have a composition that includes a circle and stripes. This shows the static balance of the circle and stripes. How is it achieved? Firstly, if you look at the hidden structure of the composition sheet, you can understand that it is built primarily along the horizontal and vertical axes. More than static. Secondly: static elements are used - a circle and stripes, the circle is balanced by stripes and does not fly out of the plane and the conventional geometric visual center is located at the intersection of the diagonals, and the composition can be viewed from all sides, without giving rise to the identification of disharmony.
Now look at the picture on the right. We see a dynamic balance of several semicircles and circles with the dominant color highlighted. How is dynamic equilibrium achieved? If you look at the hidden structure of the sheet, then in addition to the horizontal and vertical axes of constructing a composition, you can clearly see the use of a diagonal axis. Its presence and use are revealed by a red circle, which in this composition is the dominant spot, the area to which the eye pays attention first. We introduce the concept- composition center.

Composition center. Dominant

Compositional center, dominant, how to understand it: in the composition on the left there is a certain compositional center, or dominant, which is the beginning of the composition and to which all other elements are subordinate. One can say more: all other elements enhance the significance of the dominant and “play along” with it.

We have the main character - the dominant and secondary elements. Minor elements can also be divided according to importance. More significant are accents, and less significant are secondary elements. Their significance is determined only by the content of the story, the plot of the composition, and all the elements of the composition are important and must be subordinated to each other, “twisted” into one whole.

The compositional center depends on:

1. Its size and the size of other elements.

2. Positions on the plane.

3. The shape of an element that differs from the shape of other elements.

4. The texture of an element, which differs from the texture of other elements.

5. Colors. By applying a contrasting (opposite color) to the color of the secondary elements (a bright color in a neutral environment, and vice versa, or a chromatic color among achromatic ones, or a warm color with an overall cold range of secondary elements, or a dark color among light ones...

6. Elaborations. The main element, the dominant, is more developed than the secondary ones.

Compositional and geometric centers of the composition

Let's continue... This dominant, a conspicuous active element, is not located in the center of the sheet, but its weight and activity is supported by many secondary elements located diagonally further, opposite this dominant. If you draw another diagonal, then on both sides of it the “weight” of the composition will be conditionally the same. The composition is balanced both vertically and horizontally, as well as diagonally. Elements are used that differ in activity from the previous composition - they are more actively located and more active in form. Although they are arranged elementary, according to a conventional grid, and the structure of the composition is simple, in addition, the composition has a dynamic balance, as it leads the viewer along a certain trajectory.

Note: the composition on the right was not created using paints on paper, but I really liked it, and in essence, by and large, this does not change. This is also a composition. Let's continue...

You say, where is the geometric center of the composition? I answer: the geometric center of the composition is where it should be. Initially, it may seem that it is located where the dominant is located. But the dominant is rather an accent, the beginning of the composition, that is, the compositional center. However, we do not forget that there is also a hidden structure of the composition, the geometric center of which is located as in the composition on the left. The viewer turns his first glance to composition center, the dominant, but after examining it, and then after reviewing the entire composition, your eye still stopped at geometric center, right? Check it out for yourself, monitor your feelings. He found “calm” there, the most comfortable place. From time to time he again examines the composition, paying attention to the dominant, but then again calms down in the geometric center. That is why such balance is called dynamic, it introduces movement - visual attention is not scattered evenly throughout the composition, but follows a certain course that the artist created. Your eye will find movement in the compositional center, but will not be able to settle there. And it is precisely with the successful construction of the composition, namely, the correct use of the geometric center, that it is harmoniously visible from any turn. And the compositional center is where the composition begins to conduct a dialogue with the viewer; this is a section of the composition that allows you to control the viewer’s attention and direct it in the right direction.

Static composition and dynamic composition

Now we come to the following terms that we need to consider. These terms differ in meaning from static equilibrium and dynamic, meaning: you can balance any composition in different ways. So... What is it static composition? This is the state of a composition in which the elements balanced with each other as a whole give the impression of its composition. stable immobility.

1. A composition based on which one can visually clearly observe the use of a hidden leaf structure for construction. In a static composition there is a conditional order of construction.

2. Objects for a static composition are selected that are closer in shape, weight, and texture.

3. There is a certain softness in the tonal solution.

4. The color solution is based on nuances - similar colors.

Dynamic composition, accordingly, can be built in the opposite way. This is the state of a composition in which elements balanced with each other give the impression of it. movement and internal dynamics.

I repeat: but, whatever the composition, you should always strive for a stable visual balance of all components of the composition in its various directions - up and down, right and left, diagonally.

And the composition should be harmonious from any position, in any rotation - turn your composition upside down, or 90 degrees, with general masses and color / tonal spots, it should also be pleasant to view, without any hint of discomfort.

Basics of composition - exercises

Additional exercises can be performed with gouache, like appliqué, colored pencils and other materials that your heart desires to work with. You can perform from the exercise that you find most easy or interesting to the most difficult.

1. Balance several simple-shaped elements on a square plane. Using the same principle, create a composition of a simple landscape motif.

2. From simple stylized motifs of natural forms, make a sketch of a closed composition (not beyond the scope of the picture), enclosed in a sheet format. Closed composition - the action revolves only in the space you use, complete clarity. The compositions have a movement in a circle.

3. Organize several triangles and circles according to the principle of dynamic composition (asymmetrical arrangement of figures on a plane), varying the color, lightness of the figures and background.

4. Using the principle of dividing the elements of a composition, balance several figures of different configurations in a rectangular format. Using this principle, perform a simple composition on an arbitrary theme.

5. From simple stylized motifs of natural forms, using the principle of dividing elements, make a sketch of an open composition. An open composition is a composition that can be developed further - in width and height.

6. Divide the plane of the sheet into a conditional structure based on sensation and create a composition based on it: a black and white solution.

Expressive means of composition

Expressive means of composition in decorative and applied arts include line, point, spot, color, texture... These means are at the same time elements of composition. Based on the assigned tasks and goals and taking into account the capabilities of a certain material, the artist uses the necessary means of expression.

Line is the main formative element that most accurately conveys the nature of the outlines of any shape. The line performs a double function, being both a means of representation and a means of expression.

There are three types of lines:

Straight: vertical, horizontal, inclined
Curves: circles, arcs
Curves with a variable radius of curvature: parabolas, hyperbolas and their segments

The expressiveness of the associative perception of lines depends on the nature of their outline, tonal and color sound.

The lines transmit:

Vertical - striving upward

Inclined - instability, fall

Broken lines - variable movement

Wavy - uniform smooth movement, swinging

Spiral - slow rotational movement, accelerating towards the center

Round - closed movement

Oval - the direction of the form towards the focal points.

Thick lines protrude forward, and thin lines retreat deeper into the plane. When sketching a composition, they create combinations of certain lines and spots that stimulate the manifestation of its plastic and color properties.

The dot is widely used as one of the means of expression in many works of decorative and applied art. It helps to identify the texture of the image and convey the conditional space.

The stain is used in the rhythmic organization of non-figurative ornamental motifs. Spots of various configurations, organized into a specific composition, acquire artistic expressiveness and, having an emotional impact on the viewer, evoke in him the appropriate mood.

Artists often use them as visual elements in their works. geometric figures: circle, square, triangle. Compositions of them can symbolize the movement of time, the rhythms of human life.

The rhythmic organization of ornamental motifs from non-figurative elements (spots of abstract configuration, silhouettes of geometric figures), combined into compositional structures, becomes a means of artistic expression.

More means of composition

1. Subordination: a person in the first second begins to perceive the composition as a silhouette image on a certain background: the area of ​​the silhouette, the drawing of the contour line, the degree of compactness, tone, color, surface texture, and so on.

2. Symmetry and asymmetry: An effective means of achieving balance in a composition is symmetry - the regular arrangement of form elements relative to a plane, axis or point.

Asymmetry - the harmony of an asymmetrical composition is more difficult to achieve; it is based on the use of a combination of various patterns of composition construction. However, compositions built on the principles of asymmetry are in no way inferior in aesthetic value to symmetrical ones. When working on its spatial structure, the artist combines symmetry and asymmetry, focusing on the dominant pattern (symmetry or asymmetry), and uses asymmetry to highlight the main elements of the composition.

3. Proportions are the quantitative relationship of individual parts of a composition with each other and with the whole, subject to a certain law. A composition organized by proportions is perceived much easier and faster than a visually unorganized mass. Proportions are divided into modular (arithmetic), when the relationship of parts and the whole is formed by repeating a single given size, and geometric, which are built on the equality of relations and are manifested in the geometric similarity of divisions of forms.

4. Nuance and contrast: nuanced relationships are minor, weakly expressed differences in objects in size, pattern, texture, color, location in the space of the sheet. As a means of composition, nuance can manifest itself in proportions, rhythm, color and tonal relationships, and plasticity.
Contrast: it consists in a sharp opposition of elements of the composition. Contrast makes the picture noticeable and makes it stand out from others. There are contrasts: direction of movement, size, conventional mass, shape, color, light, structure or texture. When the direction is contrasted, the horizontal is opposed to the vertical, the tilt from left to right is the tilt from right to left. In size contrast, tall is contrasted with low, long with short, wide with narrow. With mass contrast, the visually heavy element of the composition is located close to the light one. In contrast, “hard”, angular forms are contrasted with “soft”, rounded ones. With light contrast, light areas of the surface are contrasted with dark ones.

6. Rhythm is a certain ordering of single-character elements of a composition, created by repeating elements, alternating them, increasing or decreasing. The simplest pattern on the basis of which a composition is built is the repetition of elements and intervals between them, called modular rhythm or metric repetition.

A metric series can be simple, consisting of one element of shape, repeated at regular intervals in space (a), or complex.

A complex metric series consists of groups of identical elements (c) or may include individual elements that differ from the main elements of the series in shape, size or color (b).

The form is significantly enlivened by the combination of several metric rows combined into one composition. In general, the metric order expresses staticity, relative peace.

A certain direction can be given to the composition by creating a dynamic rhythm, which is built on the patterns of geometric proportions by increasing (decreasing) the sizes of similar elements or on a natural change in the intervals between identical elements of the series (a - d). A more active rhythm is obtained by simultaneously changing the size of the elements and the intervals between them (e).
As the degree of rhythm increases, the compositional dynamics of the form intensifies in the direction of thickening the rhythmic series.

To create a rhythmic series, you can use a natural change in color intensity. In conditions of metric repetition, the illusion of rhythm is created as a result of a gradual decrease or increase in the intensity of the color of the element. With changing sizes of elements, color can enhance the rhythm if its intensity increases simultaneously with an increase in the size of the elements, or visually balance the rhythm if the color intensity decreases with increasing size of the elements. The organizing role of rhythm in a composition depends on the relative size of the elements that make up the rhythmic series and their quantity (to create a series you need to have at least four to five elements).

Warm bright colors are used to highlight the active elements of the composition. Cool colors visually remove them. Color has an active effect on the human psyche and can evoke a wide variety of feelings and experiences: to please and sadden, to invigorate and depress. Color affects a person regardless of his will, since we receive up to 90% of information through vision. Experimental studies show that the least eye fatigue occurs when observing colors in the middle part of the spectrum (yellow-green region). The colors in this area give a more stable color perception, and the extreme parts of the spectrum (violet and red) cause the greatest fatigue of the eyes and irritation of the nervous system.

According to the degree of impact on the human psyche, all colors are divided into active and passive. Active colors (red, yellow, orange) have a stimulating effect and accelerate the vital processes of the body. Passive colors (blue, purple) have the opposite effect: they calm, cause relaxation, and decreased performance. Maximum performance is observed under the influence of green color.

The natural human need is to color harmony = subordination of all colors of the composition to a single compositional concept. The entire variety of color harmonies can be divided into nuanced combinations based on convergence (identity of tonality, lightness or saturation), and contrasting combinations based on opposition.

There are seven options for color harmony, based on similarities:

1. the same saturation at different lightness and color tone;

2. the same lightness with different saturation and hue;

3. the same color tone at different saturation and lightness;

4. the same lightness and saturation with different color tones;

5. the same color tone and lightness at different saturations;

6. the same color tone and saturation at different lightness;

7. identical color tone, lightness and saturation of all elements of the composition.

With changing tonality, harmony can be achieved by combining two main and intermediate colors (for example, yellow, green and mustard) or by contrasting tonality. Contrasting combinations are made up of complementary colors (for example, red with cool green, blue with orange, violet with yellow...) or from triads that include colors that are equally spaced on the color wheel (for example, yellow, purple, green-blue, red, green and blue-violet). Color harmony is formed not only by combinations of chromatic colors, but also of rich chromatic and achromatic colors (blue and gray, brown and gray, and so on).

More exercises...

1. Sketch a natural motif with a line and spot

2. Create a thematic composition using graphic means of expression - line, spot, dot

3. From objects freely placed in space, create a balanced composition of a still life, without resorting to perspective abbreviations of objects and spatial plans

8. Dissect the plane of a circle inscribed in a square (black and white solution), and from the dissected circles create a rapporteur composition. You can do the same with other geometric shapes.

Artist and composition

Now we will not talk about how to compose a composition, but rather about the forces that motivate it to be created. These forces are much stronger and more efficient than if you thoroughly and spend many hours studying the technical aspects of its creation, but skimp on putting at least a drop of your soul into the process. This is a strong motivation, a driving force. You are an artist, no matter what knowledge and skills you have and what stage of development you are at. You are an ARTIST, a creative person. Before creating a composition, any composition, you harbor an idea, think, feel emotions, and observe its creation within yourself. Some of us dream about it, some of us are under the influence of this magical process day after day, sometimes it simply prevents us from living like all ordinary people, because we create it from the very beginning within ourselves. Any composition, any creation is a sublimation of those sensations and experiences that accompany the artist and grow in him, in his consciousness. And then, one day, at one moment, you understand that here it is, creation, it can now be born and you finally understand what you must do. And the composition is born. Now nothing can stop your creative process. But by and large, composition is the artist’s mood, thoughts, the very idea that he splashes out onto the lifeless plane of a sheet or canvas, forcing them to LIVE their own, unique life, not like everyone else. And even if the artist is not very strong in studying the laws of composition on a sheet of paper, the creative power of creation is many times stronger, everything else is a matter of profit. Don't be afraid to express your thoughts and feelings. Bold and simple, mysterious and angry, joyful and fantastic.... no one can tell you better about your thoughts, only you yourself.



Theory of modern composition- a musicological scientific discipline dedicated to the study of new methods and techniques of musical composition in academic music of the second half of the twentieth century to the present, as well as an academic discipline with the same name. The idea of ​​the subject “theory of modern composition” and its name belong to the famous musicologist Yu. N. Kholopov.

Areas of musical creativity and composition methods studied by the theory of modern composition:

  • polyparametric (multi-parameter)
  • stochastic music
  • component composition (= form)
  • multimedia composition

The study of new methods and techniques of composition is carried out by a number of musicologists who specialize in the field of modern music or study them in parallel with their main area of ​​interest. Among them are M. T. Prosnyakov, A. S. Sokolov, D. I. Shulgin and some other musicologists.
Currently, both among composers and musicologists there is no unified terminology to denote new methods and techniques of composition in modern music. For example, in some musicological studies, the identified series of new compositional patterns were called “parametric” (the term of the Moscow State Conservatory professor V.N. Kholopova). Parametric (also called component) structures are associated with the technique of constructing a composition at the level of various means (components) of the musical fabric - rhythm, dynamics, harmony, strokes, texture and others. In modern composition, methods of structurally independent use of texture, rhythm, timbre, dynamics, stage performance of performing musicians (their facial expressions, gestures, gymnastics and other acting on stage, in the hall) are also important.

see also

Notes

Literature

  1. Composers on modern composition. Reader. - M., 2009
  2. Xenakis Ya. Paths of musical composition. Per. Yu. Panteleeva // Word of the composer. Sat. works of RAM named after. Gnesins. Vol. 145. M., 2001. P.22-35.
  3. Prosnyakov M. T. On the basic prerequisites for new methods of composition in modern music // Laudamus. M., 1992. P.91-99.
  4. Prosnyakov M. T. Changing the principle of composition in modern New music // Muzikos komponavimo principai. Teorija ir praktika. Vilnius, 2001.
  5. Prosnyakov M. T. Musical reform at the turn of the millennium // Sator tenet opera rotas. Yuri Nikolaevich Kholopov and his scientific school. M., 2003. pp. 228-237.
  6. Sokolov A. S. Musical composition of the twentieth century: dialectics of creativity. M., 1992. 231 p.
  7. Sokolov A. S. An introduction to twentieth-century musical composition. M., 2004. 231 p.
  8. Theory of modern composition. - M., 2005. 624 p.
  9. Kholopov Yu. N. To the introduction of the course “Theory of Modern Composition” // Musical education in the context of culture: issues of history, theory, psychology, methodology. Materials of the scientific and practical conference. RAM named after Gnesins. - M., 2007 P. 29-36.
  10. Shulgin D. I. Modern features of Viktor Ekimovsky’s composition. M., 2003. 571 p.

Links

  • kholopov.ru - site dedicated to Yu. N. Kholopov

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See what “Theory of modern composition” is in other dictionaries:

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Training session #1.

Topic 1. Theory and types of composition. Basic concepts.

Basic concepts and terms on the topic:

Types of composition: frontal, volumetric, volumetric-spatial. The main elements of composition: point, line, spot, plane, volume. Formal composition, techniques, means, laws, rules of composition. Artistic and figurative concept, dominant, integrity.Symmetry, asymmetry, axial (mirror) symmetry, central symmetry. Axis and center of symmetry.

Topic study plan

    Types of composition.

    Elements of composition.

    Formal composition.

    Practical work No. 1 (task 1).

Posting new material.

Composition (from Latincomposition) - means the composition, connection and mutual arrangement of various parts into a single whole in accordance with some idea. (Composition of a novel, symphony, painting, ornament).

In fine art, composition is the construction of a work of art, determined by its content, character and purpose. The most important plot elements of the image are not placed chaotically, but form simple geometric shapes: circle, square, triangle, rectangle, oval.

Types of composition

As you know, there are several main types of composition inherent in the main spatial arts. Architecture is characterized by spatial composition (frontal, volumetric, deep-spatial). Painting is characterized by pictorial-planar composition, sculpture - volumetric-plastic, easel and book graphics - linear-graphic composition.

Let's consider 3 main types of composition: frontal, volumetric, volumetric-spatial.

Frontal. Distribution of elements in two directions: vertical and horizontal. This includes planar compositions and relief.

Volumetric. Distribution of an element along the coordinates of height, width and depth.

Volumetric-spatial. It consists of several volumetric compositions located in space at certain intervals.

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 frontal composition is often used when creating decorative works - carpets, paintings, fabric patterns, as well as in abstract and realistic painting, stained glass, mosaics. Usually such a composition is open.

Conditions on which the preservation of the frontality of the composition depends:

1) A certain relationship between vertical and horizontal dimensions.

2) Frontality depends on the silhouette of the plane.

3) Depends on the nature of the elements in depth.

4) Surface texture, color...

Rice. 1. Frontal composition

Volumetric composition.

This compositional form is included in three-dimensional arts - sculpture, ceramics, architecture. Its difference lies in the fact that the perception of the work occurs sequentially from several observation points, from many angles. The volumetric composition includes a new quality - length in time; it is viewed from different angles and cannot be completely captured by the eye. The exception is relief, which is an intermediate form in which volumetric chiaroscuro plays the role of line and spot.

Rice. 2 Volumetric composition.

Spatial composition.

The space is shaped by architects and, to some extent, designers. The interaction of volumes and plans, technology and aesthetics that architects use is not a direct task of fine art, but spatial composition becomes the object of the artist’s attention if it is built from volumetric artistic and decorative elements that are somehow located in space.


Rice. 3. Spatial composition

Spatial composition as a form is often confused with a painting that conveys the illusion of space. There is no real space in the picture; in form it is a planar composition, in which the arrangement of color spots sequentially seems to move objects away from the viewer into the depths of the picture, but the construction of the image itself goes along the entire plane.

Elements of composition

Basic elements: point, line, spot, plane, volume.

The first basis for the influence of painting on a person, as Leonardo da Vinci believed, is the point, the second is the line, the third is the surface, the fourth is the body, which is covered by the surface.

Udots and lines no properties (except for one: if a point is enlarged to a certain size, it turns into a spot, and vice versa).

Classification of propertiesspots:

    Physical: magnitude (dimensions and proportions)

    Plastic (shape and structure)

    Properties of the surface of the stain (color, texture, texture, etc.)

Subjective elements: (consist of combinations of physical ones): expressiveness/inexpressiveness, static/dynamic.

The essence of the concept of "harmony"

Harmony, translated from Greek, is consonance, agreement, the opposite of chaos. Harmony means a high level of order and meets the aesthetic criteria of perfection and beauty. Regarding composition, harmony is understood as its formal characteristic.

The essence of the concept of "formality"

Formal composition. Form is interconnected with content, but it is possible to separate form from content by replacing realistic objects with formal (or abstract) ones, but so that the formal composition expresses the idea and artistic and figurative concept through:

Characteristics and properties of composition elements

Through the structural organization of composition elements.

There are 3 main formal features of the composition:

1. Integrity.

This is the internal unity of the composition. Integrity can be in the layout of the picture in relation to the frame, it can be like a color spot of the entire picture in relation to the field of the wall, and maybe inside the image, so that the object or figure does not fall apart into separate random spots.

The basic principles of composition, ensuring the achievement of their compositional integrity, are: unity of the whole and parts of the form; subordination of form elements; balance of form elements; proportionality of form elements.

2. Subordination of the secondary to the main, that ispresence of a dominant.

Dominant – the main element of the composition, which should immediately catch the eye.This is the semantic center of the composition , it does not necessarily coincide with the geometric center, but this is the main thing in the work and all secondary elements lead the viewer’s eye to it.

The center (focus) of the composition determines the entire picture.

3. Balance – the basis of harmony in the work.

Balance is the placement of elements of a composition in which each item is in a stable position.

To establish balance in the composition, the shape, direction, and location of the visual elements are important.

Symmetry and asymmetry

Symmetry - asymmetry - categories of composition that express the physical law of equality of moments of force and are associated with the principle of balance.

Symmetry is the identity of the elements of a form that are identically located relative to the midline (axis) of symmetry, the center of symmetry, the plane of symmetry. Types of symmetry - mirror, axial (compatibility is achieved by rotating the figure relative to the axis of symmetry), helical.

Asymmetry is the absence or violation of symmetry. It is perceived visually (as opposed to static symmetrical compositions) as dynamics and movement. An asymmetrical composition is more complex, more expressive, and more interesting than a symmetrical one, but it requires well-developed intuition and a subtle sense of balance.

Symmetry is always balanced, asymmetry requires visual balancing.

Laboratory work is not provided.

Practical lessons

Federal Agency for Education

State educational institution

higher professional education

Department of Design and Artistic Processing of Materials


"Composition Theory"



Introduction

1.1 Integrity

2. Types of composition

2.1 Closed composition

2.2 Open composition

2.3 Symmetrical composition

2.4 Asymmetrical composition

2.5 Static composition

2.6 Dynamic composition

3. Forms of composition

3.4 Volumetric composition

4.1 Grouping

4.2 Overlay and cut-in

4.3 Division

4.4 Format

4.5 Scale and proportion

4.6 Rhythm and meter

4.7 Contrast and nuance

4.8 Color

4.9 Composition axes

4.10 Symmetry

4.11 Texture and texture

4.12 Stylization

5. Aesthetic aspect of formal composition

6. Style and stylistic unity

7. Associative composition

Bibliography

Introduction


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

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 methods of highlighting the plot-compositional center are used not formally, but to best reveal the artist’s intention and the content of the work.

1. Formal features of the composition


Artists, passionately struggling with their next masterpiece, changing color and shape for the hundredth time, achieving perfection of the work, are sometimes surprised to discover that their palette, where they simply mixed paints, turns out to be the same sparkling abstract canvas that carries beauty without any substantive content .

A random combination of colors formed the axis into a composition that was not planned in advance, but arose by itself. This means that there is still a purely formal relationship between elements, in this case colors, which produces a sense of order. You can call this the laws of composition, but in relation to art you don’t want to use this rigid word “law”, which does not allow the free action of the artist. Therefore, we call these relationships features of composition. there are many of them, but of all the signs we can single out the most significant, absolutely necessary in any organized form.

So, there are three main formal features of the composition:

integrity;

subordination of the secondary to the main, that is, the presence of a dominant;

equilibrium.


1.1 Integrity


If the entire image or object is captured by the eye as a single whole and does not clearly fall apart into separate independent parts, then integrity is evident as the first sign of composition. Integrity cannot be understood as necessarily a welded monolith; this feeling is more complex, there may be gaps and gaps between the elements of the composition, but still the attraction of the elements towards each other, their interpenetration visually distinguishes the image or object from the surrounding space. Integrity can be in the layout of the picture in relation to the frame, it can be like a color spot of the entire picture in relation to the field of the wall, and maybe inside the image, so that the object or figure does not fall apart into separate random spots.

Integrity is the internal unity of a composition.


1.2 Subordination of the secondary to the main (presence of a dominant)


In the theater it is customary to say that the king is played not by the king, but by his retinue. The composition also has its “kings” and the “retinue” surrounding them, like solo instruments and an orchestra. The main element of the composition usually immediately catches the eye; it is this, the main element, that all other, secondary, elements serve, shading, highlighting or directing the eye when viewing the work. This is the semantic center of the composition. In no case is the concept of the center of the composition associated only with the geometric center of the picture. The center, the focus of the composition, its main element can be both in the background and in the background, it can be on the periphery or literally in the middle of the picture - it doesn’t matter, the main thing is that the secondary elements “play the king”, they lead the eye to the culmination of the image , in turn subordinate to each other.


1.3 Balance (static and dynamic)


This is not a simple concept, although, at first glance, there is nothing complicated here. The balance of a composition is by definition associated with symmetry, but a symmetrical composition has the quality of balance initially, as a given, so there is nothing to talk about here. We are interested in precisely that composition where the elements are located without an axis or center of symmetry, where everything is built according to the principle of artistic intuition in a very specific situation.

An empty field or a single point placed in a certain place in the picture can balance the composition, but in the general case it is impossible to indicate what place this is and what color intensity the point should be. True, we can note in advance: the brighter the color, the smaller the balancing spot can be.

Particular attention has to be paid to balance in dynamic compositions, where the artistic task is precisely to disrupt and destroy the equilibrium peace. Oddly enough, the most asymmetrical composition in works of art, directed beyond the canvas, is always carefully balanced. A simple operation allows you to verify this: it is enough to cover part of the picture - and the composition of the remaining part will fall apart, become fragmentary, unfinished.

composition picture formal

2. Types of composition


2.1 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 related to each other, plastically compact.


2.2 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 conjecture of the non-depicted part.

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 missing, or rather, the composition is made up of many equal mini-centers filling the image field.

2.3 Symmetrical composition


The main feature of a symmetrical composition is balance. It holds the image so tightly that it is also the basis of integrity. 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 is made 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.


2.4 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 for the competent construction of the picture.


2.5 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.


2.6 Dynamic composition


Outwardly unstable, prone to movement, asymmetry, openness, this type of composition perfectly reflects our time with its cult of speed, pressure, kaleidoscopic life, thirst for novelty, the rapidity 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.

If the above three pairs of compositions are compared with each other and try to find a relationship between them, then with a slight stretch we must admit that the first types in each pair are one family, and the second are another family. In other words, static compositions are almost always symmetrical and often closed, 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 .

3. 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, of course, 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.


3.1 Point (centric) composition


in a dotted composition the center is always visible; 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. For a dot composition, the format of the pictorial field is of great importance. In many cases, the format directly dictates the specific shape and proportions of the image, or, conversely, the image determines the specific format.


3.2 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, the subordination of the secondary to the main, is often masked, so 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.

3.3 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.


3.4 Volumetric composition


It would be very bold to call any painting a volumetric composition. This compositional form extends into three-dimensional arts - sculpture, ceramics, architecture, etc. Its difference from all previous forms is that the perception of the work occurs sequentially from several observation points, from many angles. The integrity of the silhouette is of equal importance in different turns. The volumetric composition includes a new quality - extension in time; it is viewed from different angles and cannot be completely covered by a single view. The exception is relief, which is an intermediate form in which volumetric chiaroscuro plays the role of line and spot.

The volumetric composition is very sensitive to the illumination of the work, and the main role is played not by the strength of the light, but by its direction.

The relief should be illuminated by sliding, not frontal light, but this is not enough; one must also take into account which side the light should fall from, since changing the direction of the shadows completely changes the appearance of the work.


3.5 Spatial composition


The space is shaped by architects and, to some extent, designers. The interaction of volumes and plans, technology and aesthetics, which architects operate with, is not a direct task of fine art, but spatial composition becomes the object of the artist’s attention if it is built from volumetric artistic and decorative elements, somehow located in space. Firstly, this is a stage composition, which includes scenery, props, furniture, etc. Secondly, the rhythmic organization of groups in dance (meaning the color and shape of the costumes). Thirdly, exhibition combinations of decorative elements in halls or showcases. In all these compositions, the space between objects is actively used.

As in a volumetric composition, lighting plays a big role here. The play of light and shadow, volume and color can radically change the perception of a spatial composition.

Spatial composition as a form is often confused with a painting that conveys the illusion of space. There is no real space in the picture; in form it is a planar (frontal) composition, in which the arrangement of color spots sequentially seems to move objects away from the viewer into the depths of the picture, but the construction of the image itself goes along the entire plane.


3.6 Combination of compositional forms


In real concrete works, the forms of composition in their pure form are not always found. Like everything in life, the composition of a painting or product uses elements and principles of different forms. The best and most accurate answer to the pure classification is ornament. By the way, it was the ornament that was the basis on which, first of all, the patterns and forms of the composition were revealed. Easel painting, monumental painting, plot engraving, illustration often do not fit into the geometrically simplified forms of the composition. Of course, they often contain a square, a circle, a ribbon, horizontals and verticals, but all this is in combination with each other, in free movement, in interweaving.

4. Techniques and means of composition


If you take several geometric shapes and try to put them together into a composition, you will have to admit that only two operations can be done with the shapes - either group them, or superimpose them on each other. If some large monotonous plane needs to be turned into a composition, then, most likely, this plane will have to be divided into a rhythmic series in any way - color, relief, slits. If you need to visually bring an object closer or further away, you can use the red zooming effect or the blue zooming effect. In short, there are formal and at the same time real methods of composition and corresponding means that the artist uses in the process of creating a work.


4.1 Grouping


This technique is the most common and, in fact, the very first action when composing a composition. Concentration of elements in one place and consistent rarefaction in another, highlighting the compositional center, balance or dynamic instability, static immobility or the desire to move - everything is within the power of the group. Any picture, first of all, contains elements that are in one way or another mutually located relative to each other, but now we are talking about a formal composition, so let's start with geometric figures. Grouping also involves spaces, that is, the distances between elements, into the composition. You can group spots, lines, dots, shadow and illuminated parts of the image, warm and cold colors, sizes of figures, texture and texture - in a word, everything that is visually different from one another.

4.2 Overlay and cut-in


In terms of compositional action, this is a grouping that has crossed the boundaries of the figures.


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