Art that walks the fine line of harmony must be within the framework of something strict, clearly defined, unshakable, which will not allow it to do so. easy step from the mysterious, beautiful to the ugly and inert. This restraining unit is composition, its types, laws, and techniques. It is she who makes all works of art so harmonious and complete. In the article we will analyze this concept, types of composition, and their embodiment in various areas of this beautiful sphere.
What is composition?
In the most general sense of the word, composition is the main organizing element of absolutely any artistic form. It is his task that is to give integrity and unity to the creation, to show the artist’s thought understandable and complete, to subordinate all the components of the work, to put them into a system.
Formal. The second name is not pictorial, because it is built from spots and lines. These artistic images cannot exist in reality and have no practical or rational significance. What is important here is not the plot, the meaning, but rather the plastic forms, principles and laws of their construction. It is the artistic form, colors, and plasticity that evoke emotions in the viewer here. Abstract images of such a composition arise from symbols geometric shapes, simplified images of real objects.
Composition in literature
There are two gradations of types of composition in the literature. Let's take a closer look at them.
The first classification is as follows:
- Architectonics, external composition. This is what stands out graphically: the division of the work into chapters, paragraphs and paragraphs, the presence of a prologue and epilogue, various footnotes and comments, epigraphs, digressions by the author, etc.
- Narration, internal composition. Here attention is already focused on the content of the creation: images and their system, plot, structure of speech situations, highlighting the strong components of the text - leitmotif, climax, denouement, finale.
The next gradation of species literary compositions looks like this:
- Thematic. The relationship between the main characters is at the center. Additionally divided into sequential (smooth transition from one thought to another), based on the development and transformation of the image literary hero and based on the comparison of images of literary heroes.
- Mirror. When reading, the reader gets the feeling that some images and episodes are symmetrical.
- Ring(framed). The work begins and ends with the same scene.
- Reverse. The events in the book develop from final scene to its origins and causes.
Types of flower arrangements
In conclusion, let’s look at this type of art: floristry.
The types of flower arrangements here are very diverse:
- Varieties of arrangements of cut flowers: bouquets, compositions in wall, floor, table, hanging, high, flat and low vases, in special stands, macrame, baskets, driftwood, tree bark.
- A bouquet as a composition is divided into festive and everyday.
- Forms of bouquet arrangements: round, linear, one-sided, freely assembled, massive, of various sizes (5-50 cm).
Composition is an important organizational form in art. It is this that makes any work complete, meaningful, and worthy of the emotions of the viewer and reader. Each of its types, as we have seen, in the fine arts, in literature, in floristry, has its own unique features, the laws of constructing a work by an artist.
It is believed that the first to use the word “composition” in relation to a work of art was an Italian scientist, the art theorist of the era Early Renaissance, painter and architect Leon Baggista Alberti (1404 - 1472), who believed that composition is such a reasonable basis for painting, thanks to which parts of visible things are put together into a picture. In subsequent centuries, and right up to the present day, attempts to give a comprehensive definition of composition have not stopped. Here are some of them.
Composition is a comparison of individual forms in which they are linked into a new whole of a higher order. F. Schmit
Composition... in literature and the fine arts - the construction of a work, the relationship of individual parts (components) of a work that form a single whole. Dictionary of foreign words
All types of art... are characterized by the presence of such an important aspect of the artistic form as composition. V. Vanslov
Composition is the main form of a work of art. N. Volkov
People's Artist USSR E. A. Kibrik complained in 1961 that when composition programs were being developed at the Academy of Arts, it was not possible to find a formulation acceptable to everyone about what composition is.
The development of a scientific definition of the term “composition” is significantly hampered by the different uses of this word that have become established in the practice of artists. Composition is an academic subject at an art institute or school. A composition is a thematic painting, as opposed to a portrait, landscape and still life. The definition of composition was further complicated by the desire to combine in one word the concepts of unity of content and form. work of art. In the composition program for art and graphic faculties of pedagogical institutes, you can read that currently the concept of “composition” is considered as a dialectical phenomenon in its essence, since it has also absorbed structural organization artistic image, and a system of ideological, thematic and formal-plastic connections and dependencies, and the most important laws of the construction of a work of art, the process of its creation and perception. These main levels of the concept of “composition” are also the main directions for the formation of skills in compositional activity.
The difficulties of finding a final definition of the term “composition” are evidenced by the attempts of E.V. Shorokhov to give this definition in the textbook “Composition”, intended for students of art and graphic faculties of pedagogical institutes. He writes: “...A more complete definition of the concept of “composition” will sound like this: “The composition of a work fine arts is the main artistic form of a work of fine art, uniting all other forms, characterized as a whole with fixed, naturally interconnected parts (elements), in which nothing can be moved or changed, from which nothing can be taken away and to which nothing can be added without prejudice to the artistic image, it is a whole that is in inextricable unity with the meaning (idea, content) of the work" 1 .
Many definitions of a concept are arrived at every time, not only in the fine arts, but also in other areas of culture, when there is no clear understanding of the content of the concept. In order not to get lost in the jungle of word creation, let’s dwell on the academic definition of the concept “composition”.
Composition is the structure of the form of a work of art, aimed at revealing the author's intention. Composition (from Latin compositio - composition, linking) is the construction of a work of art, determined by its content, character and purpose and largely determining its perception.
It is highly advisable to familiarize yourself with statements about the composition of famous Soviet artists and art theorists, in whom one can feel the pulse of time, insight and the desire for truth. K. F. Yuon notes that a thoughtful and complete composition is considered as a figurative formula in which all parts of the picture are brought to semantic and formal unity. V. Vanslov says that the patterns of composition differ significantly in architecture and painting, music and poetry. But composition as a plan and scheme for constructing a work, as the relationship and organization of its sections, parts, characters, and so on, as the subordination of the whole and its elements, is inherent in the artistic form of a work of any kind of art. Composition is a complete wholeness, determined by meaning works, says N. Volkov.
We give a number of examples on the definition of the concept of composition, expressed by artists and art theorists.
Artists know very well... that until a composition has been found... it is useless to paint faces. No matter how strongly they are written, they mysteriously lose their power until they find their place in the picture space, in the compositional series. V. Lenyashin
I remember how he (B.N. Zuev) taught me that a composition must have an odd number of figures. I remember this - there is something in this rule, at least that it is more natural to put together an “indivisible” composition from an odd number of figures, since an even number is easier to split into equal parts. E. Kibrik
Composition is the creative organization of a painting. Under no circumstances should it be mixed with placing objects on the canvas. At first glance, it may seem that a landscape depicting an empty sea below and a cloudless sky above is a picture that does not have a composition... In fact, the ratio of the size of the sky in length and width to the sea is already a composition. The tone of the sky and sea, the size of the entire picture - all these are elements of the composition. N. Krymov
Composition is always a construction (color, linear, etc.) that reveals semantic connections. Composition is always an interpretation of the plot. N. Volkov
Over time, you become convinced that the basis of all creativity is composition, that everything begins and ends with it, that all the components of the craft are focused in it. It can be elementary, or it can be verified by mathematical logic, subordinated to the artist’s intuition. ...The composition satisfies me when both the figurative and semantic structure and the decorative and plastic tasks are in organic interaction. V. Sidorov
Our time is the age of composition. If earlier it essentially meant sketching, that is, working on the plot of a picture (it involved placing figures and interiors in the format of a picture), now the meaning and understanding of composition has changed. It can be in a still life and a drawing, in a sketch. This is not only the relationship of lines, silhouettes, colors - it is also mutual influences and internal connections of elements, characters, lines, forms based on stylistic unity, a sense of integrity. S. Grigoriev
It is important for me, when I start a new canvas, first of all to feel the whole course of further work. In this process of creating a thing, I consider composition to be the most important thing for me. Without it, the picture cannot exist, even when correctly found color relationships and the condition is expressed. To look for a composition - for me this means, first of all, to internally organize the canvas, to determine its structural backbone, its basis. E. Bragovsky
The question of composition is the most difficult, key question. B. Ioganson
...“Questions of composition” still remain just “questions.” ...Already scheduled the right way to a theoretical resolution of this complex issue; But there is still no single view on composition, and there is no established methodology for teaching composition. M. Etkind
Doesn't help you flourish thematic picture and the slowly improving teaching of composition, especially multi-figure composition, in our universities. E. Kalinin
The number of examples of definitions of composition given by artists and art theorists can easily be continued. It still follows from them that composition is a structure, an interconnection of parts that ensures the integrity of the image, aimed at revealing the content and idea of the work.
The content of a work of art appears in the artist’s head as a plan; sometimes it is dictated by the customer, competitive program and so on, and the composition is created by the artist, the form is built. When the unity of content and form arises, then a complete integrity arises - a painting, a sculpture, an etching. The content of the picture is composed, the composition is built. In the end, it is a single whole. Working on form means working on content, and vice versa. The artist's logic is an essay; his intuition is the geometry of the canvas, rhythms, proportions, relationships, because his eye and brain are unconscious geometry, measurement. All knowledge is a sensory dimension.
1 Shorokhov E. V. Composition. - M., 1986. - P. 10-11.
Any drawing begins with the compositional placement of images on a sheet of paper. The overall impression of the drawing largely depends on how this or that image is composed.
One of the main requirements in educational drawing is the ability to correctly place images of objects on a sheet of paper.
Composition translated from Latin means “to compose, compose.” Layout- make a whole from parts. Composition as a term has a double meaning. In the educational drawing the word " composition " means performing basic initial exercises. In artistic creativity it has a broader semantic meaning. Separation of concepts " composition " And " layout "wears very conditional character, since one imperceptibly passes into the other, merging in the process of working on the drawing. The term " composition "used in various fields and fields of art: cinema, music, theatrical productions, ballet, literature, various types fine arts and architecture. In a creative sense" composition " - this is common artistic design, the structure of a work of art that most fully expresses its idea. In the training drawing this is right choice the size and location of the object within a given format.
For general idea You need to know the following about composition in the visual arts. Compositions can be easel, decorative, monumental-decorative, monumental-sculptural, theatrical-decorative, volumetric-spatial. There are compositions of objects applied arts and design. Easel compositions include compositions in graphic, sculptural and pictorial execution. These are portraits, landscapes, paintings of a plot nature, engravings, prints, lithographs and sculptural compositions. Decorative and decorative-applied compositions include all kinds of sketches for paintings on fabric, glass, porcelain, wood, ceramics, wood carvings and much more. Monumental and decorative - mosaic, sgraffito, panels, stained glass, sculptural reliefs etc. For theatrical and decorative - sketches and panels for performances and productions, sketches of scenery and costumes. To volumetric-spatial - architectural objects and structures, interior and exterior design, as well as architectural and sculptural compositions. Compositions of applied art objects - design of glass, metal, furniture, industrial design, clothing modeling, etc.
Composition as a separate special subject is not included in the number academic disciplines drawing course programs in architectural universities; nevertheless, it is important for the idea of composition in general, as well as for future creative activity, requiring the solution of complex diverse compositional problems. Composition fosters imaginative thinking and is a sign that determines professional maturity, skill and creativity, the ability to embody ideas and images.
The main task of composition in educational drawing is the ability to place objects and their parts so as to create a single harmonious expressive whole.
When solving compositional problems, one cannot neglect such concepts as scale, proportions, proportionality, balance, theme, plot, image, tone, form, volume, design, space (perspective), symmetry, contrast, rhythm, dynamics, statics, and most importantly and secondary, unity and integrity, and, of course, expressiveness and harmony.
Composition is a system of rules and techniques for the relative arrangement of parts into a single harmonious whole. The ability to accurately and expressively place an image within the sheet format is an indispensable condition in educational drawing. The ability to compose compositions is also an art. Therefore, mastering the art of layout will require the development of compositional vision and flair.
Thanks to the existing natural mystery, it is inherent in the human eye to see and perceive the world around us in proportions and proportionality, i.e. Nature itself took care and laid the basis for our vision with magnificent qualities that allow us to determine beautiful proportions. Expressive compositions are the presence of harmony , i.e. such a quality of artistic works in which the eye does not perceive a discrepancy between the sizes of parts and the whole, and color combinations do not irritate the eye. Harmony obliges the painter to arrange the depicted objects and their parts so that not a single part seems alien or disproportionate. This is what the outstanding Renaissance theorist Leon Battista Alberti wrote about harmony: “There is something more, made up of the combination and connection of these three things (number, limitation and placement), something with which miraculously illuminates the entire face of beauty. After all, the purpose and purpose of harmony is to order the parts, generally speaking, different in nature, by some perfect relationship so that they correspond to one another, creating beauty... And nature has no greater concern than that what it produces is completely perfect. This cannot be achieved in any way without harmony, because without it. the external harmony of the parts is disintegrating." From Alberti's words it is clear that the basis of beauty is harmony. Thanks to instinct, artists and architects create harmonious works of art, objects and things.
When working on a composition, you need to learn compositional vision. This vision can be developed as follows. For example, look at numerous private buildings below from the balcony, comparing the object that interests you with them. IN in this case the main object of your interest is the focus of your attention, and the environment serves to define the object and its place in this environment. Through this visual perception environment compositional vision can be developed. Similar exercises can be done at home, on the street, in transport, at work, in a word - everywhere. The most useful exercise for developing compositional vision: having imagined an object from memory or imagination, write it in an imaginary frame (sheet format) or, conversely, place a drawing of the object in an imaginary frame.
As you master these techniques, you can try to complicate the task according to the “from simple to complex” principle by including two or more objects in the arrangement. In this way, the foundations of understanding composition are laid and developed, necessary for performing more complex compositional tasks in the future. Well technically executed drawings with poor layout noticeably lose their merits, thereby reducing the overall impression of the work as a whole. Good composition gives the work of art integrity, expressiveness and harmony, which is the main feature of any work of art. Good advice for students, the expression of Leon Battista Alberti can serve: “Never take up a pencil or a brush until you have thoroughly thought about what you have to do and how it should be done, for truly, it is easier to correct mistakes in the mind than to scrape from a picture.
Basic principles of composition
Composition in fine art is associated with the need to convey the main concept, the idea of the work as clearly and convincingly as possible. The main thing in composition is to create an artistic image. Paintings painted in different eras, completely different styles, amaze our imagination and are remembered for a long time, largely due to their clear compositional structure. And indeed, if you try to change something in the paintings of P. Bruegel the Elder “Hunters in the Snow”, P. Gauguin “Bonjour, Monsieur Gauguin” and V. Surikov “Boyarina Morozova” (ill. 1-3), for example, the size of the canvas, the ratio of dark and light spots, the number of figures, the height of the horizon line, etc., the integrity of the composition is immediately destroyed, the balance of the parts is lost.
It is no coincidence that it is proposed to consider works that are so different in their pictorial style as examples. The inability to make changes to the finished painting confirms the power of the laws and rules of composition.
Rules, techniques and means of composition
Composition has its own laws, adding up to the process artistic practice and theory development. This question is very complex and extensive, so here we will talk about the rules, techniques and tools that help build plot composition, to translate the idea into the form of a work of art, that is, about the laws of composition.
We will consider mainly those that relate to the creation process realistic work. Realistic art does not simply reflect reality, but personifies the artist’s delight in the amazing beauty of ordinary things - the aesthetic discovery of the world.
Of course, no rules can replace the absence artistic abilities to creative talent. Talented ARTISTS can intuitively find the right compositional solutions, but to develop compositional talent it is necessary to study theory and work hard on its practical implementation.
The composition is built according to certain laws. Its rules and techniques are interconnected and apply at all moments of work on the composition. Everything is aimed at achieving expressiveness and integrity of the work of art.
Search for an original compositional solution, use of means artistic expression, most suitable for the embodiment of the artist’s plan, form the basis of the expressiveness of the composition.
So, let's look at the basic principles of constructing a work of art, which can be called rules, techniques and means of composition.
The main idea of the composition can be built on the contrasts of good and evil, cheerful and sad, new and old, calm and dynamic, etc.
Contrast as a universal tool helps create a bright and expressive work. Leonardo da Vinci in his “Treatise on Painting” spoke about the need to use contrasts of sizes (high with low, large with small, thick with thin), textures, materials, volume, plane, etc.
Tonal and color contrasts are used in the process of creating works of graphics and painting of any genre.
A light object is better visible and more expressive against a dark background and, conversely, a dark object against a light one.
Transmission of rhythm, movement
Rhythm is a universal natural property. It is present in many phenomena of reality. Remember examples from the world of living nature that are in one way or another connected with rhythm (cosmic phenomena, rotation of planets, change of day and night, cyclical seasons, growth of plants and minerals, etc.). Rhythm always implies movement.
Rhythm in life and in art are not the same thing. In art there are possible interruptions in rhythm, rhythmic accents, its unevenness, not mathematical precision, as in technology, but living diversity, finding an appropriate plastic solution.
In works of fine art, as in music, one can distinguish between an active, impetuous, fractional rhythm or a smooth, calm, slow one.
Rhythm is the alternation of any elements in a certain sequence.
In painting, graphics, sculpture, decorative arts rhythm is present as one of the most important expressive means composition, participating not only in the construction of the image, but also often giving the content a certain emotionality.
Rhythm can be set by lines, spots of light and shadow, spots of color. You can use alternation of identical elements of the composition, for example, human figures, their arms or legs. As a result, rhythm can be built on contrasts of volumes. A special role is given to rhythm in works of folk and decorative art. All numerous compositions of various ornaments are built on a certain rhythmic alternation of their elements.
Rhythm is one of the " magic wands ", with the help of which you can convey movement on a plane.
We live in a constantly changing world. In works of fine art, artists strive to depict the passage of time. Movement in a painting is an expression of time. On a painting, fresco, in graphic sheets and illustrations, we usually perceive movement in connection with the plot situation. The depth of phenomena and human characters is most clearly manifested in a specific action, in movement. Even in genres such as portrait, landscape or still life, true artists They strive not just to capture, but to fill the image with dynamics, to express its essence in action, during a certain period of time, or even to imagine the future. The dynamism of the plot can be associated not only with the movement of some objects, but also with their internal state.
Identification of the plot and compositional center
When creating a composition, you need to take care of what will be the main thing in the picture and how to highlight this main thing, that is, the plot-compositional center, which is often also called the “semantic center” or “visual center” of the picture.
Of course, not everything in a plot is equally important, and minor parts are subordinate to the main thing. The center of the composition includes plot plot, main action and main characters. The compositional center should, first of all, attract attention. The center is highlighted by illumination, color, image enlargement, contrasts and other means.
Not only in works of painting, but also in graphics, sculpture, decorative arts, and architecture, a compositional center is distinguished. For example, Renaissance masters preferred that the compositional center coincide with the center of the canvas. By placing the main characters in this way, the artists wanted to emphasize their important role and significance for the plot.
Artists have come up with many options compositional construction paintings when the center of the composition shifts in any direction from the geometric center of the canvas, if the plot of the work requires it. This technique is good to use to convey movement, the dynamics of events, and the rapid development of the plot, as in V. Surikov’s painting “Boyaryna Morozova.”
Rembrandt's painting "Return" prodigal son" is a classic example of a composition where the main thing is strongly shifted from the center for the most accurate disclosure of the main idea of the work. The plot of Rembrandt's painting is inspired by a gospel parable. On the threshold of their home, a father and son met, who returned after wandering around the world.
Painting the rags of a wanderer, Rembrandt shows the difficult path his son has traveled, as if telling it in words. You can look at this back for a long time, sympathizing with the suffering of the lost. The depth of space is conveyed by the consistent weakening of light and shadow and color contrasts, starting from the foreground. In fact, it is built by the figures of witnesses to the scene of forgiveness, gradually dissolving into the twilight.
The blind father put his hands on his son's shoulders as a sign of forgiveness. This gesture contains all the wisdom of life, pain and longing for the years lived in anxiety and forgiveness. Rembrandt highlights the main thing in the picture with light, focusing our attention on it. The compositional center is located almost at the edge of the picture. The artist balances the composition with the figure of his eldest son standing on the right. The placement of the main semantic center at one third of the distance in height corresponds to the law of the golden ratio, which has been used by artists since ancient times to achieve the greatest expressiveness of their creations.
Conveying symmetry and asymmetry
Artists different eras used a symmetrical construction of the picture. Many ancient mosaics were symmetrical. Renaissance painters often built their compositions according to the laws of symmetry. This construction allows you to achieve the impression of peace, majesty, special solemnity and significance of events.
In a symmetrical composition, people or objects are located almost mirror-like with respect to the central axis of the picture.
Symmetry in art is based on reality, which is replete with symmetrically arranged forms. For example, a human figure, a butterfly, a snowflake and much more are arranged symmetrically. Symmetrical compositions are static (stable), the left and right halves are balanced.
Transferring balance in a composition
In a symmetrical composition, all its parts are balanced; an asymmetrical composition can be balanced or unbalanced. A large light spot can be balanced with a small dark one. Many small spots can be balanced by one large one. There are many options: parts are balanced by weight, tone and color. Balance can concern both the figures themselves and the spaces between them. With the help of special exercises, it is possible to develop a sense of balance in a composition, learn to balance large and small quantities, light and dark, various silhouettes and color spots. Here it will be useful to remember your experience of finding balance on the swing. Everyone can easily figure out that one teenager can be balanced by placing two kids at the other end of the swing. And the baby can even ride with an adult who will sit not on the edge of the swing, but closer to the center. The same experiment can be done with scales. Such comparisons help to balance different parts of the picture in size, tone and color to achieve harmony, that is, to find balance in the composition.
In an asymmetrical composition, sometimes there is no balance at all if the semantic center is closer to the edge of the picture.
Compositional rules, techniques and means are based on the rich experience of the creative skills of artists of many generations, but the technique of composition does not stand still, but is constantly evolving, enriched by the creative practice of new artists. Some compositional techniques become classic, and they are replaced by new ones, as life puts forward new tasks for art.
Practical advice
To create an emotional and figurative composition, an artist needs to learn to see interesting events, characters, motives, perspectives and states in the life around him. Constantly making sketches, sketches and sketches from nature develops not only the eye and hand, but also compositional thinking.
Seeing an interesting motive for a composition in real life is not so easy. A viewfinder frame, which is easy to make yourself, can help with this. The main thing is that its opposite sides remain movable, then it will be possible to easily change the format, increase or decrease the circle of objects included in the field of view. Choosing the most expressive subject for a composition is also not an easy task. Hundreds of people perceive and interpret the same story in different ways, that is, they create their own version of the content. By plot we must understand what the artist directly depicts on the canvas, but the content or theme can be much broader, that is, works with different plots can be created on the same theme.
So, you, overwhelmed with life’s impressions or from a book you’ve read, sit down to draw. An image begins to take shape in your mind, and the problem of composition immediately arises. Where to start?
It is important, even before starting the image, to try to imagine what the picture will be like.
As a rule, the artist first makes several small sketches in which he searches for the most expressive composition. At this stage, it is determined what the format of the painting will be (vertically elongated, rectangular, square, horizontally elongated, etc.) and its size.
Secrets and mysteries of the masters
F. ANGEL
Requires the ability to compose fluently and successfully. Anyone who is daring in composition will never be hampered by complex construction. A fertile mind, if it is focused on a single goal, will always be able to produce thousands of different inventions. And if this lightness is combined with truthfulness and they go together like sisters, it gives the art a magnificence that speaks to the connoisseurs much more eloquently than I can express in many words. This quality is required by the artist so that he can make the stories he depicts most understandable to amateurs and everyone else who sees his paintings.
D. REYNOLDS
You must remember that when I talk about the whole, I mean the whole not only of the composition, but the whole in relation to the general solution of color, and the whole in relation to light and shadow, and the whole in everything that can become the main subject of the artist... The art of omitting is the most important in all subjects. integral part knowledge and wisdom.
E. DELACROIX
The first lines with which a skilled craftsman denotes his plan already contain the grain of what will distinguish this work. Raphael, Rembrandt, Poussin - I name them on purpose, since they were the ones who were distinguished by the power of thought - put several lines on paper, and you feel that not one of them is indifferent. For the understanding eye, life is present in everything, and nothing in the development of a theme, apparently still so unclear, will move away from the intended plan, barely revealed and at the same time already complete. But there are perfect talents who do not show such completeness and clarity at the moment of this first glimpse of thought: for them, pictorial means are necessary to touch the imagination of the viewer. How general rule, they borrow a lot from nature. They need a model to work with more confidence. They have a different path to achieve excellence in art.
And indeed, if you take away from Titian, Murillo or Van Dyck the amazing perfection of this imitation of living nature - take away the skill that makes you forget both art and the artist - then in the very conception of the plot or in its development you will often find a motive devoid of interest; however, thanks to the charm of color and the wonders of the brush, he mysteriously rises to the heights of art. Extraordinary convexity, harmony of nuances, air and light - all the wonders of illusion transform a theme that in a cold and bare sketch told us nothing.
K. F. YuON
The subject of study should be both expanded compositions large paintings, as well as their individual fragments. Types and types of compositions: single-plane, two-plane and multi-plane, scientific-perspective and conditionally-perspective and also free non-perspective types provide in each case a whole code of original techniques that achieve their artistic goals. Decorative and realistic elements, psychological moments, gestures and facial expressions, movements and actions, groupings of figures and the use of chiaroscuro conditions make up the main compositional material.
A. A. DEINEKA
The equal size of the margins and the placement of the figure along the central axis of the sheet give a harmonious balance to the drawing. But a disproportionately small figure on a large sheet will be lost, and a figure pushed to the very edge of the sheet - barely squeezed into the pictorial field or partially extending beyond the plane - will upset the balance of the composition. These are the basic rules for placing an image in a training drawing. But for reasons of a different order, it is quite acceptable to draw a small figure against the backdrop of a grand hall when we want to show the scale of the image. The same figure depicted in the foreground can be partially moved beyond the edge of the sheet, pushing the architectural background into the background, for example in a poster. If you draw a person in strong movement at the edge of the sheet, this emphasizes the dynamism of the gesture.
E. A. KIBRIC
The ability for creative intuition is a manifestation of the artist’s talent. The ability to analyze, that is, logically consider one’s creativity, must be developed and nurtured. Moving from content to form and analyzing what was done intuitively, the artist establishes not only the relationship between the characters and the environment, the format of the composition, but also its very motive and even the means of execution. Only by being able to analyze what has been created by intuition can an artist find ways and means to final stage creativity leading to completeness. But only such an analysis is fruitful, which is capable of illuminating the path to completion, of inspiring the author, of evoking that upsurge of feeling that allows one to bring the thing to its end with excitement and precision, as if in one breath. The diagram of the creative process will probably be like this: intuition - analysis - intuition. For art begins and ends, and is perceived by the senses. It is explained with the help of analysis.
Computer workshop
Design is a type of modeling
TASK 1.13. Creating a set of building blocks
When modeling parquet and mosaic, you were dealing with flat compositions. Is it possible to transfer volume using not special program, working with three-dimensional graphics, but a simple graphics editor? The answer is obvious: if it can be done on paper, then it can be done on the screen.
A very common volumetric design is the brick shape with an aspect ratio of 4:2:1. Building blocks and elements of furniture sets have this form. You can try your hand at designing your own home without moving furniture, but by moving bricks on the screen in a three-dimensional sketch of the room (Figure 1.16).
Like any design task, this task breaks down into three:
♦ creating a menu of ready-made forms;
♦ construction of the “what will happen if...” type;
♦ design of the “how to do so that...” type.
To design with bricks, it is not enough to draw one of them. It is impossible to freely rotate shapes in the Paint graphics editor. Therefore, you will have to create a menu that will reflect all possible positions of the brick. There are only six of them. Figure 1.17 shows three positions of the brick: flat, at the end and on the edge.
If you use the possibilities of rotating fragments of the drawing by 90° and reflecting them, then it is enough to construct only three positions.
Write protect it.
PROBLEM 1.14. General design of bricks
Based on the general appearance of the pieces of furniture in your room, build models of them from bricks (examples in Figure 1.18).
PROBLEM 1.15. Simulation of furniture arrangement
Using the created furniture models, arrange it in the volumetric plan of the room in order to increase the free space. When creating a room, use a brick whose dimensions are proportional to 100:50:25 cm.
PROBLEM 1.16. Modeling of volumetric structures made of bricks in three projections
This and the next task are closely related to the school drawing course. It requires concentration, spatial imagination and accuracy. It is necessary to recreate the appearance of the figure from images of three projections (front, top and left views).
Create three-dimensional structures from bricks, shown in Figure 1.19 (a, b, c) in three projections.
TASKS FOR INDEPENDENT WORK
1.17. Construction of three projections based on the general appearance of the object.
Create a menu of brick projections. The menu is shown in Figure 1.20.
Construct from the elements of the created menu three types of volumetric structures (front, top and left), shown in Figure 1.18.
1.18. Modeling from a building kit.
If the screen cube or brick is replaced with a more complex set of building blocks like the one shown in Figure 1.21, then an architectural structure can be simulated.
Think over the technology for creating compatible parts of a building designer. Create and save a menu. Create three-dimensional compositions using building set elements.
Lecture 1
The concept of composition. Visual perception of an image on a plane. Graphics tools. Means of expressing artistic image.
Aesthetic requirements for design can be formulated as a system of aesthetic standards that ensure the creation of products that are artistically expressive and have a positive impact on humans. The requirements are varied (technical, ergonomic, socio-economic, aesthetic). They include ensuring rational design and form, maximum functionality, figurative expressiveness of the object, and ease of use. During the design process, the designer implements these requirements, using composition tools achieving compliance of the form with the laws of the composition, subordination of all elements of the product to the general compositional solution.
Composition a scientific discipline that examines the patterns of shape formation, as well as specific techniques and means used in the process of working on an artistic image.
The science of composition studies the general internal patterns of the structure of forms in design, as well as specific means of achieving their integrity and unity with the content of the internal space.
Composition(from Latin - composition, binding) - the construction of a work of art, determined by its content, character and purpose and largely determining its perception. This is the most important organizing element of the artistic form, giving the work unity and integrity, subordinating its components to each other as a whole.
Composition- “composition” is a system for constructing a work of art. Techniques and means of composition have been known for a long time and are widely used in artistic practice; they are studied mainly based on materials from architecture, industrial design, and decorative and applied arts. In the process of working on a composition, the artist operates with the movements of images - elements. Compositional balance is associated with the establishment of certain spatial intervals between measured elements of form, for example points.
To successfully solve design problems, a specialist must master all the basic principles of composition and be able to use its means. Composition as an object of study can appear in three states:
as an independently existing reality;
visually identified and recorded by imagination harmony;
as a result of conscious aesthetically oriented activity. Hence its definitions:
there is a composition objective property a limited set of elements, organized on the basis of common features that distinguish it from other sets;
there is a composition subjective reflection in the mind of the observer a set of elements organized on the basis of real or imagined common features;
composition as action is bringing to harmonic unity elements of a limited set.
Thus, the formal requirements for composition come from the objective reality of the natural world and are determined by the psychophysical structure of man, his organs of perception, the brain and how objective reality is reflected in human consciousness. The dialectical development inherent in matter is reflected in the products of human spiritual activity, in particular in art. The laws of dialectics are directly manifested in the compositional structure of works of art. The very concept of “composition”, meaning connection, comparison, already implies the presence of opposite principles.
The denominator of the above formulations is their aesthetic orientation, i.e. assessment of a composition in any aspect is carried out from the point of view of its emotional and artistic impact per viewer . (Tkachev)
The formation of a composition is a process that involves a logical sequence of thinking and the order of input of compositional means. The emphasis on achieving artistic harmony and emotional tension brings to the forefront a generalized idea representing the genetic core, composition code, in which associative communications With functional and figurative analogue, hierarchy of means.
Modern concepts of progressive design schools argue that at different stages of training a student develops his professional experience with the help of graphic tools and techniques that are different in their expressiveness, which are not always used in practice, so simply equipping a student with only graphic skills of practical design is not enough. We must not forget that any image in project graphics serves not only to convey graphic information, but is an object of aesthetic perception.
Perhaps the artistic intuition of a successful designer is the basis of his monopoly image, but the components of the secret of the profession are quite simple, and they have long been discovered. Their common name is compositional thinking. As an obligatory sign of the worldview of a creative person, compositional thinking is based on educated (or even innate) attention to the harmonious connections of things and phenomena (a sense of form and color, subtle ear for music, taste), the practical implementation of which consists in mastering numerous components of mastery, “extracting” harmony and making it the property of people.
A prescription presentation of the foundations of the creative process related to the sphere of compositional thinking presupposes the need to initially identify the observable properties of objects and space, the study of those types and forms of their interaction that give rise to the impression of unity or disharmony. Please note that compositional thinking does not operate with the objective state of the environment and objects, but with their display in our consciousness, formed on the basis observations. When it comes to the practical implementation of the results of compositional thinking, the objective results of the work reflect the pattern of the predominance of the visual principle in the forms of regulation of the man-made world. (Tkachev)
Object And the result of compositional thinking in design are: composition, elements, its components, and organizational forms of their combinations.
Compositional thinking and the use of the laws of visual perception helps:
master the principles creating a composition, based on the psychology and physiology of visual perception;
consciously choose artistic and expressive means, anticipating in advance the viewer’s reaction and the ability to adjust the composition;
Any image is not an exact copy of an object borrowed from the surrounding reality. The image is constructed using the means of representation - dots, lines, tone and color. Exploring levels artistic language and means of transmitting the form:
Iconic, the perception of a line as a unit of artistic language on an emotional, subconscious level;
Symbolic, the meaning and meaning of lines, shapes, figures, fixed in traditions, is based on conscious use, subject to special knowledge of symbolism;
Figurative, attracting artistic images of human perception, activating the imagination in the process of visual perception.
When studying iconic level the artistic language of form examines the emotional qualities of points, lines, spots that determine the structure of the form. The emotional impact of certain images on a person is connected with the work of the person’s eye. For example, a horizontal line is perceived by the eye with minimal tension and therefore causes a feeling of satisfaction, a vertical line is perceived with great tension, irregular and broken lines cause the greatest tension and pain in the eye. When the correct curved lines are perceived, the eyes prepare for the upcoming change and perceive it more calmly.
Artistic and compositional advantages of design graphics influence the efficiency of perception of transmitted information, the content of the emotional attitude towardsthe depicted object. From this I followIt is clear that in a design school it is necessary to teach not only drawing and drawing, but to purposefully instill in the student a culture of drawing and sketching. (Kudryashov) The study of composition at the initial stage consists of studying the means, features and patterns of composition: theoretical parameters for constructing compositional modules of various cultural and historical eras.
Means images The image is constructed using image tools - dots, lines, tones and colors.
The concept of image means in a design project is inextricably linked with its content, the basis of which is the model of the designed object. The very nature of this object is so specific and qualitatively unique that its properties actively influence the content and visual form of the graphic art, distinguishing it from other types of graphic art according to a number of characteristics. Why is it specific? architectural object? It is distinguished by the following main properties:
Position in space
Size, scale,
Tectonics, style
Graphic image property:
Picture style
Laconism
convention
DOT plays a prominent role in industrial graphics. easel, book, illustrative graphics, etc. A point is most often an infinitesimal unit - part of a line; a series of points, joining, are perceived as a linear formation, making up a fragment of a dotted, linear pattern. Figurative elements commensurate with the dot are letters and numbers, and less often very small image details. It is for these reasons that three most important varieties often appear in the palette of PG products: - line, tone and color.
Dot. The concept of a point is the original concept in arithmetic and geometry. In a theoretical sense, a point has no dimension, it is dimensionless and indicates only the location of the object. In the formal concept - a point is a geometric shape that has zero dimensions (absurd) - a reference point, a location; in mechanics, a point is endowed with mass; in kinematics, a point is interpreted as a ball having visual “extension” (our earth, revolving around the sun - “scientific abstraction of a point").
Consider a point within the compositional space. We involuntarily reward it with well-known material characteristics: shape (ball), finitude (extension), boundary (a barrier is felt between the body of the point and the empty space immediately adjacent to it).
Dot the result of the first collision of an artistic instrument with a material plane, with paper. Having materialized, an invisible geometric point must acquire a size that occupies a certain part of the main plane (at the level of sensations). It acquires boundaries and contours to separate itself from its surroundings:
The relationship of a point and the main plane in magnitude and the relationship of its magnitude with other shapes on this plane.
It is necessary to be able to not only put an end to it, but to do it at such a level that it has the necessary quality. Quality refers to the ratio of the size of a point to its position on the plane, the contrast between the point and the plane (background). The task comes down to destroying the passive integrity of the space of the plane, revealing the active principle by applying a black object - a point - to the white plane. A point can undergo formal graphic transformations - they will change in size, density, saturation.
dot. This is also a form that in some cases simply cannot be avoided. The activity of point perception depends
from its “loneliness” or from a combination of several points and other elements.
Line. Spot
Lines the expression of the image is also characteristic. One line is one level of sensation, several repeated lines increase the impact. Lines of different nature enrich perception, complicate the image, but can bring it to the point of absurdity. The movement can be rapid, directed or slow, less targeted, chaotic, thereby forming different images.
There is always more movement in a line than in spot, since its optical weight affects here.
Lines, built on rounded curves, closer to the images of a circle, ellipse and other similar shapes, angular broken lines resemble a triangle. The closed line delimiting the silhouette of a spot depends on the perception of the shape of this spot.
Let's look at four options for the simplest forms of spots. In fact, there are many more, but they can all be classified into these four main ones.
Square. Completed, stable form, ready to express
affirming images. Under certain conditions - a severe form, which is alien to movement, especially “flight”.
Triangle. An active form, developing on a plane and in space, carrying within itself the potential for movement. May express or evoke aggressive images. When positioned with the top up, it is stable, but with the top down, it is super unstable. In this form, the struggle of opposites is clearly expressed, which in turn is necessary to create very specific images.
Circle. In this form, more than in any other, the idea of nature, the Earth, the universe is expressed. Therefore, such concepts as “good”, “life”, “happiness” are most associated in humans with the shape of a circle or its derivatives.
Amoeba shape. Its fluidity expresses images that are unstable in nature. Romanticism, melancholy, pessimism - this is their range.
Before creating planar compositions, you need to become familiar with the patterns of their perception. So, for example, if the task is to choose a plane in the most harmonious proportions, then in most cases this plane will correspond to the proportions of the “golden section” or close to them. This is most likely due to the fact that the same proportions underlie the construction of man, nature, the Earth, and space.
If it is necessary to mark the center of the plane with a point, then it will be
slightly above the geometric mean. All this is explained by the objective feeling of flatness. Perception The plane of the Europeans differs from its perception by the Japanese and other representatives of Eastern culture, who, when writing, arrange the lines vertically. We read the plane from left to right and from the top corner to the bottom. Therefore, the dot located in the upper left corner does not raise any additional questions, but is perceived naturally. However, moving it to any other place attracts more active attention of the viewer. When solving a composition on a plane, it is necessary to take into account and use optical illusions of perception the plane itself, as well as points, lines or spots on it.
1. The simplest forms nature always “looks for shortcuts and chooses economical solutions (as a result of the process of evolution, natural selection). This law is manifested in the structure of biological forms of the macrocosm and microcosm. The study of these forms showed an amazing relationship and repetition of the same simple forms in them, which are repeated in certain combinations in a huge variety of complex forms. These simple forms, the “bricks” from which complex forms are built, are few in number. The authors of the article “Does Life Need a Form” Ch. Schemaitis and V. Mironov11 count among them spiral, ball, polyhedron, pipe, tree and star. According to our observations, they are also the favorite forms of all spatial arts.
Spiral - one of the forms common in the organic world. It is highly capable of storing energy and storing information. It can be compressed, stretched - it is flexible and compact. It is known that the DNA molecule of life has a double helix shape. Many plants and animals have spiral shapes in their body structure - bindweed, beans, snail shells, etc. A spiral is a curve that is the shortest path between two points on a cylindrical surface (draw a diagonal on a rectangular sheet and roll it into a tube). Thanks to this feature, it is widespread in the biological world of balls and cylinders - vessels, nerves, fibers entwining spherical and cylindrical surfaces in search of the shortest path inevitably turn into a spiral. (We often find the spiral and S-shape in compositional schemes. Hogarth considered the sinuous serpentine line to be “the line of beauty and grace”).
Ball- the most economical shape, the ball has the smallest surface with the largest volume, less material is required for its shell than
to any other. The ball easily adapts to environmental conditions, as it easily rolls and flattens, and therefore is widely distributed in the organic world (eggs, viruses, protozoan microorganisms). Ball, circle, oval are the most common forms in works of art, because they reflect real forms characteristic of nature. They are easily perceived visually, since the visual field itself has the shape of an oval and since these forms best reflect the idea of wholeness, completeness, as opposed to, for example, rectangular shapes, which, on the contrary, are associated with limitation, with something conditional.
Polyhedra- pentahedrons and hexahedrons are found in nature in the form of honeycombs, in a network of blood vessels. The economy of these forms is evident in their ability to fill space. (Because of this, they are used in design for surface coatings).
Pipe- among natural forms it is found as a transport channel - for the transfer of nutrients, blood and other products
vital activity of a living organism, plant. (In art, the pipe and its linear expression are used as a connecting means of communication, and as a transition from one form to another).
Tree- we observe the trunk and its branches in the structure of the crown and roots of the tree, in the structure of the circulatory system. (In works of art, and especially in the organization of information objects, a widespread form).
Star- a type of tree shape, when viewed from above - rays and petals diverge from the center, cover the surrounding space, deliver nutrition and solar energy to the center. Star-shaped plants and animal organisms move thanks to the rays of their legs (anemone, starfish, octopus). The shape of a star in art is associated with the spread of energy, force coming from the center, the source of energy. Legs - rays in ancient art were a symbol of perpetual motion).
If we reduce living organic forms to geometric ones, we get - ball, cone, cylinder, polyhedra. Interestingly, the idea that life is based on simple stereometric formations is found in Plato and among Renaissance scientists (Luca Pacioli). They
It was believed that the world's elements correspond to forms: fire - a pyramid (tetrahedron); on earth - a cube, i.e. a hexahedron; air - octahedron, water - icosahedron. Despite the fact that this hypothesis has no scientific basis, it is of some interest. It indicates a tendency to see the world constructively and holistically, bringing logic and reason into the elements.
Types (frontal, volumetric, deep-spatial).
Types (static, dynamic, closed, open). Structure. Definition
The creation of a work of art in any field of art is impossible without compositional structure, without bringing to integrity and harmony all its parts, all its components. Composition is the most important means of constructing the whole. By composition we mean the purposeful construction of a whole, where the arrangement and interrelation of parts are determined by the meaning, content, purpose and harmony of the whole.
The word "composition" comes from the Latin "Compositio" which means composition, composition, connection, comparison. All these meanings are present in a certain way in the modern understanding of composition, because if we're talking about about composition, we always mean a certain integrity, the presence of a complex structure containing contradictions, brought to harmonious unity thanks to a system of connections between elements. There is no composition in the chaotic accumulation of objects. It is also absent where the content is homogeneous, unambiguous, elementary. Conversely, composition is necessary for any holistic structure that is quite complex, be it a work of art, a scientific work, an information message, or an organism created by nature. Composition is necessary when creating forms of the objective world household items, machines, buildings and other objects of design and architecture; it is also a means of organizing information and a means of constructing an artistic form. Composition provides a logical and beautiful arrangement of the parts that make up the whole, giving clarity and harmony to the form and making the content intelligible. The logic of construction and beauty, harmony in the relationships of parts of the whole are inherent, as noted above, not only in human creations.
We find signs of composition in natural forms, in the structure of plants, animal organisms, in the structure of the universe. Therefore, the word “composition” is equally applicable to the description of a flower, to the construction of a book or oratory. Composition is a way of organizing the “material” of art. In this case, material means not only physical mass - clay, paint, word, etc., but also plot, idea, nature, everything that, being transformed by an act of creativity, creates a work of art in its final artistic form.
The arrangement of this material, according to the laws of artistic construction, should be called in the exact sense of the word - the form of this work. Composition is precisely that method, that law of artistic construction, without which it is impossible to create a form, that is, a finished work of art. Understanding compositional construction as a means of organizing material is necessary, since the task of compositional construction of a work is to distribute the material of the future work in such a way and in such a sequence, in such a relationship between the parts of the work and all elements of the artistic form, in order to best reveal the meaning and purpose of the work and create an expressive and harmonious art form. By harmonizing the form, the compositional structure thereby enriches the content and increases the value of the work as a whole. Composition is both a category of content (as it reveals meaning) and a category of form (as it harmonizes form). Thus, through composition there is an inextricable unity of content and form. But by separating these concepts and contrasting them with each other, we have the opportunity to isolate the formal characteristics of an artistic form and identify the means by which the form is constructed. This includes material and compositional means. Isolating compositional means and studying them is necessary to master the basics of composition. Our task is to look at the composition from the point of view of the formal structural organization of the material, to analyze the connections and relationships that arise between the elements of form in the process of compositional construction. But, first of all, it is necessary to determine how the compositional structure is expressed, what are its distinctive features?
Signs of compositional construction of form.
The compositional construction of a form presupposes the presence of a plan (goal, idea). Even if the work is a decorative or abstract painting, it may contain an artistic concept, an idea realized by formal means - relationships of shapes, color spots, lines expressing struggle, interaction of forces, tension - they can influence emotions, give rise to associations - when brought to harmonious relationships, have aesthetic value. In this case, the harmony of forms, color relationships, the struggle of opposing principles itself becomes the “plot” and meaning of the picture.
A characteristic feature of compositional construction is that it always develops within certain boundaries. These boundaries are determined not only by spatial restrictions (shape, size and format of a sheet, wall space or time restrictions in dance and music). The meaning of boundaries and frames is to separate the real world from the depicted world. External boundaries, on the one hand, are connected with the surrounding space, on the other, with the internal structure of the work, with the organization of elements within the composition, which dictates a certain type of composition. The composition can be closed, fitting into a certain form and subordinate to it, or it can be open, suggesting mental continuation in space. In any case, the external boundaries and type of composition are determined by the internal connections between its elements. These compositional nodes and threads hold it from the inside within space-time boundaries.
A characteristic feature of compositional construction is also the structure and complexity of the internal structure of the work. Compositional construction is distinguished by the presence of parts connected to each other by a system of relationships. This complex whole consists of parts that are unequal in meaning and significance. In it one can always distinguish the main and the secondary, the center and the periphery. Even in ornamental compositions in the absence of an organizational center of the composition, one can distinguish the main motive and the accompanying subordinate motives. Subordination of parts - this is how this feature can be defined.
Unity and integrity- the most important feature of the composition. In the finished composition, everything is interconnected and everything is subordinated to a single goal, idea, artistic concept. This connectedness is manifested in the harmonious ordering of the form. The harmony of the whole is a necessary condition for compositional construction, an important feature of it. Any work of art represents a struggle of opposing principles - this is manifested in the formal solution - in the relationships of objects and space, in color relationships, tonal relationships, in movement, in balance, etc. All contradictory moments in the composition are balanced and brought to harmonious order.
We examined the signs by which one can judge the compositionality of a work of art or other appropriateness of the structure. These signs are a visible manifestation of those most important principles of composition that underlie compositional structure. These are: the principle of expediency, the principle of unity of the complex (the integrity of the work), the principle of dominance (the presence of a main, leading principle), the principle of subordination of parts as a whole, the principle of dynamism, the principle of balance, the principle of harmony (harmonious unity of the elements of form among themselves and the unity of form and content in the composition based on the dialectical unity of opposites).
All these principles stem from natural, objectively existing factors, from the peculiarities of human perception of actually existing reality and from the socio-biological need for knowledge, in art as a way of mastering the world and as a form of social consciousness.
Depending on the location of the compositional axes, there are:
Static- the axes intersect at right angles and strictly correspond to verticals and horizontals
Dynamic– the axes intersect at an acute angle, diagonals dominate.
Open– movement of elements from the center, the image opens up to the viewer. Centrifugal forces predominate
Closed– the image is drawn towards the center of the work, there is a clearly defined center. Centripetal forces predominate.
Structure(from lat. structure) mutual arrangement, connection of the components of something.
Compositional principles
Having become familiar with the natural foundations of compositional structure, let us return to the presentation of the compositional principles underlying the compositional structure of a work of art in order to consider them in more detail.
The principle of expediency. The principle of expediency lies in the fact that the author’s intention and the entire structure of the work presuppose the presence of a goal, idea, meaning, artistic task, which ultimately determines the development of the content of the work and directs the creative process of processing the material into an artistic form.
The principle of unity. The basic principle that ensures the integrity of the work. Thanks to this principle, the complex does not look like a conglomerate of disparate parts, but like a coherent whole. Composition acts as a system of internal connections that combines all components of form and content into a single whole. (All other compositional principles consider various manifestations of connection, various aspects of the dependence between the parts and elements of the work).
The principle of dominance. The internal organizing principle in the composition is revealed at first glance due to the presence of a dominant - a semantic center where the main action begins and the main connections arise. The perception of the work begins with the dominant; it is, as it were, a starting point, an emotional, semantic and structural center. The semantic center often coincides with the visual center, that is, it is located in the central zone of the picture field. The characteristics of the dominant in a more subdued sound are repeated in individual parts of the form, connecting them with each other.
Subordination of parts as a whole. Grouping. As has been said many times, in a work of art all parts are connected to each other and to the whole. The whole is a collection of interconnected parts, where the subordination of the parts to each other is quite obvious. In order for the whole to be perceived, a certain sequence in the perception of the parts is necessary; This consistency is achieved through the grouping of related or contrasting elements. Parts of the whole form groups related to each other by similarity or contrast. The same principle is repeated within each of the groups (similarity or contrast), a rhythm arises that permeates the entire work. All these groups echo each other with all their elements, so that the whole is repeated in its parts, and the part as a whole. Thanks to the grouping of elements and parts, sequential perception of the parts of the whole occurs, and at the same time the whole is perceived simultaneously and as a whole.
The principle of dynamism. It is known that movement in a picture is not really present, but is perceived by consciousness, being a reaction of the visual apparatus, eye movement caused by certain visual impressions. Even if the picture depicts a static state, a symmetrical composition, stable and motionless, there is movement in it, because details, elements of artistic form always express movement: their color and tone relationships, the interaction of lines and shapes, contrasts, tensions cause strong visual impulses, and , therefore, a feeling of movement, life. Compositional techniques have the ability to direct and enhance this sense of movement in an image. The compositional structure of a work of fine art can be presented in the form of a diagram of lines showing the direction of movement in the picture - diagonally, in a circle, radial, S-shaped. The movement in the composition is organized and rhythmic. With its help, the harmony of the whole is achieved.
The principle of balance. The balance of parts in a picture - the primary requirement of compositional construction - means the arrangement of pictorial material around an imaginary axis of symmetry in such a way that the right and left sides are in balance. This requirement for composition goes back, as mentioned before, to the universal law of gravity, which determines the psychological attitude in the perception of balance.
The principle of harmony. The introduction of a harmonic principle into the compositional structure and into the modeling of form means not only the observance of quantitative relationships that ensure proportionality, proportionality, and balance. Harmony creates a connection between all elements of a work, reconciles the contradictions between form and content, between material and form, between subject and space and other elements of form, bringing everything together into a single compositional whole.
So, to summarize: in a work of art, the content is revealed through an artistic and figurative solution to the theme and its compositional construction with the help of harmonization means. The method that underlies this process is dialectical opposition and unification of form elements related to each other in meaning and formal characteristics in order to achieve the unity of the whole. Therefore, means and techniques are used that are intended for this purpose, that is, capable of comparing, juxtaposing, bringing together, likening, uniting, separating, balancing and leading to integrity. Therefore, the compositional whole should be considered as a system of relations where interconnected and interdependent elements, while in contradiction, are simultaneously in a harmoniously balanced state. The defining aspects of this system are balance and interconnectedness.
Equilibrium- balance between the right and left parts of the image. This equilibrium is dynamic in nature. In the picture, everything - both dynamic and static - expresses different moments of movement, directed movement and stop, the interaction of opposing forces, and the nature of the movement is expressed through rhythm. Balance in the plastic form is manifested through symmetry, proportions, and rhythm. The interconnectedness and subordination of parts is achieved using means of harmonization based on the comparison of elements based on the principle of similarity or difference. Thus, symmetry emphasizes similarity, contrast - difference, nuance - and similarity and difference. Proportions and rhythm exhibit patterns of successive changes. Thus, the holistic form is like gar
