It must be said that in Europe video art, as an art direction, has received the most widespread development. There are even higher schools media arts.
As for installations, the roots here go back to the beginning of centuries, because rock painting This is, to some extent, also an installation. But if we talk about the modern world, installations can be divided into three categories: ordinary installations made of glass, wood, concrete; virtual and video installations.
As for the media that interests us (video installations), here we can already return to our favorite clubs, where this direction of art has already achieved wide distribution. The most simple example One can cite the usual projection of footage onto the walls of rooms and screens. Where under footage(footages) refers to video fragments, which can consist of video sequences, animated backgrounds, 3D elements, animated titles, transactions, and so-called particles.
As well as more complex panoramic video decorations at concerts.
And almost not a single performance by mega stars of modern electronics is complete without video performances.
Stars perform with their video installations and a real light show PaulKalkbrenner, Plastikman, Skrillex, Justis, DavidGuetta, MagnaticMan, SubFokus, Deadmau5 and many others.
But let us turn our curious gaze to more trendy phenomena in visual art, which, first of all, is video mapping. The newfangled word has literally flooded the Internet with many professional and amateur videos. So, video mapping(from the English. Mapping - reflection, projection) - a direction of visual art, which is a 3D projection onto a physical object environment taking into account its geometry and location in space. The trick of mapping is that it does not require additional devices for the audience (glasses, etc.), but in order for the projection to look three-dimensional, the audience needs to be at a certain point.
Video mapping (V.M.) can be classified according to the objects onto which the projection is carried out:
- architectural V.M.
— interior design V.M.
- projection onto small forms
A striking example of the connection between music and architectural mapping You can name the work that received the Grand Prix of the Circle of Light festival.
Interior mapping is a projection inside any room. The walls, floor, etc. are getting dirty.
A special case of interior mapping is fulldome, this is the case when the entire space is remembered - 360 degrees. Quite often this mapping is used in planetariums:
If we talk about the use of mapping in shows of EDM stars, then few people use these technologies. But it seems there is still more to come. But who has already made a lot of noise with his visual and musical show using mapping technologies is the famous electronic engineer Amon Tobin. Last year, a whole team of video engineers and designers worked on his performances in support of the ISAM album. Here's how it happened:
And, of course, mapping is increasingly used as an element of club performances. For example, a performance at the legendary German techno festival TimeWarp:
VJing is a live performance that happens in real time. And a person who creates video mixes by editing short video fragments (footage) in the here and now mode is called VJ
Today, VJing has a worldwide scale and recognition as a separate art form. VJing has even reached the Cannes Film Festival, where works in this genre are assessed and awarded. But, of course, VJing has taken root especially well in nightclubs around the world.
Another thing is that in our realities, VJs and video artists are just beginning to be taken seriously. (Yes, yes, it was not just a DJ who asked a friend to play the video during a performance to make it look nice).
Whereas in the West, a VJ is always present on the flyer of many parties, and his name is written not in small legible letters in the corner of the booklet, but in a sweeping font along with the invited DJs.
Of course, being a VJ is not easy. To be a professional in this field, this person must have a good sense of music, artistic taste and, at the same time, rich imaginative thinking.
The main task of a VJ can be considered to be the creation of a unique audiovisual atmosphere, while, of course, it is desirable to be on the same mental wavelength with the DJ. Therefore, how much one can admire experienced VJs who know a lot of special tricks and gadgets, and how unpleasant it is to watch someone’s work when extravagant effects are used without putting much meaning into them.
The VJ's workspace is usually a screen or plasma. Regarding setup VJ, then various options are possible here. For example, a schematic example of an average VJ setup might look like this:
More often, a VJ’s equipment consists of a couple of reliable Apple laptops with powerful video cards and special software, video mixers, visual synthesizers, midi controllers, projectors, capacious external drives, kilometers of cables and other expensive hardware.
Separately, it must be said that VJ should not be confused with DJ.
DJs(DVJ) are more advanced DJs who play not just music, but videos for this music. Most often, DJs work in more commercial styles, based on the abundance of video clips in this area. However, the matter is not limited to clips; the above-mentioned footage and films, various videos, and flash material are also used.
The work of a DJ is as difficult as the work of a VJ. Here you need to control many parameters in real time. But, at the same time, a profession (hobby?) provides a greater field for experimentation and creative self-expression.
Of course, modern visual art is largely driven by technological progress, as well as a global blur between arts of different genres. This is where many technological innovations arise. I would like to end our article with an example of such an innovation. Moreover, we're talking about about domestic developments. This is an interactive media table i.m.table.
i.m.table is a universal remote control for any multimedia components - sound, video, light. In real time, you can switch huge amount audio and video streams. The demonstration of this remote control made the Ukrainian project of Zhenya Filatov famous - The Mannequin:
This is not the end of our materials on visual art. Soon we will dig even deeper into amazing world visual culture.
Digital art or digital art is an art direction based on the use of computer technology. Authors of digital art willingly use computer programs and technologies in the creative process, and the result is works in digital form.
The digital art field is in constant development. The capabilities of constantly updated graphic editors inspire artists to create more and more unusual images. Therefore, the work of digital artists is difficult to classify. It is possible to single out types of visual digital art based on the technologies that are used in its creation, although it is worth saying that many authors use a whole range of different digital tools and mixed techniques.
Types of digital art
Digital painting
Digital painting is the creation of electronic images using computer simulations of traditional artist tools. There are different technologies digital painting, depending on the artist's skill level. Beginners can create illustrations from a photograph, more experienced ones can create an illustration from a scanned drawing or create their works directly on a computer or tablet.
The quality of digital painting depends not so much on the technique, but on the skill of the artist, his knowledge of drawing, anatomy, color theory and composition. Technology only makes the process much easier:
allows you to save stages of work, cancel unsuccessful actions, freely change proportions and composition, and work with color.
Digital photography
A photography technology that uses a photosensitive matrix to convert light and produce a digital file that is used for further processing and printing. The operating principles of digital photographic equipment are no different from analog (film) cameras. The three pillars on which photography rests: shutter speed (shutter speed), aperture, which creates exposure, and color temperature are equally important for both conventional and digital photographers. At the same time, digital cameras have different automatic modes, including creative, built-in filters. Digital photography can easily be edited: or retouched and other processing.
Vector graphics
Vector graphics is an illustration described during coding by mathematical formulas that determine the position of the object, its shape, stroke and fill parameters. Vector images(sometimes called vector shapes or vector objects) are made up of lines and curves, given by vectors- mathematical objects that describe an image in accordance with its geometric characteristics.
Vector images can be freely moved and scaled without losing detail or clarity because they are resolution independent.
Using vector graphics, artists create beautiful illustrations, abstract compositions, pictograms, develop logos and animation.
3D graphics and animation
3D graphics and animation- chapter computer graphics, dedicated to methods of creating images or videos by modeling three-dimensional objects in three-dimensional space. In this case, the 3D model can be realistic, fictitious or completely abstract. In virtual space, artists can create entire fantasy worlds, in which the model can be viewed from all sides, while textures and lighting can be worked out with a high degree of detail, animation of objects and dynamic simulation of particles can be created.
Dynamic Simulation- automatic calculation of the interaction of particles, bodies, etc. with simulated forces of gravity, wind, buoyancy, etc., as well as with each other.
The resulting three-dimensional models can be modified in other editors.
Fractal graphics
A fractal is a figure or structure that has the property of self-similarity, i.e. each larger element contains its smaller copy, and this can continue indefinitely. Crystals, snowflakes and many other natural objects have a fractal structure. Computer programs can build fractal figures amazing in their beauty and complexity
Typography
Typography is the art of design using typesetting text, based on certain rules inherent in a particular language, through typing and layout. In digital design and art, focused on connecting all forms of media, in various ways providing information, typography becomes one of the artistic means, and often its external, formal characteristics come to the fore. Designers create font posters and compositions; in video clips and advertising, the text comes to life.
Photo manipulation
Photomanipulation is connecting parts different images and graphic elements in order to obtain a completely new work with its own meaning and purpose. Masters of photo manipulation bring their creative ideas to life by combining different, usually high-quality stock photos, into a single, cohesive artistic image.
Modern graphic editors allow you to create amazing combinations of a wide variety of visual images, transforming photographs into surreal paintings, stylish design compositions capable of embodying the most complex concepts or fantasies.
There are many types of compositions based on photographs: collages and photo art, posters and designs.
High-quality photo art is not just “gluing together” pieces of different pictures in the Photoshop graphics editor. It includes the processing of all image fragments in a single color scheme, tone correction, takes into account the position of light sources and the direction of the shadow; it is almost impossible to separate it from the original photographs.
Animation design
Animation design or motion graphics Motion graphics) - visual design of video clips, television broadcast design, TV show screensavers, movie titles, commercials, created using a computer, sometimes with the help of combined filming and animation effects.
Before computers became widely available, motion graphics were expensive and labor-intensive, limiting their use in big-budget film and television. The term "motion graphics" is associated with the rise in popularity of computer applications like Adobe After Effects, Maya, Autodesk 3D Studio Max. These programs combined special video processing effects, sets of tools for color correction, text animation, camera movement and the creation of multi-layered compositions.
CGI (English: computer-generated imagery, lit. “computer-generated images”)- still and moving images generated using three-dimensional computer graphics and used in fine arts, print, cinematic special effects, television and simulation.
Computer animation
Computer animation- a type of animation created using a computer. The artist creates on the screen drawings of the initial and final positions of moving objects, and the computer takes on the role of the phase operator, calculating all intermediate states based on mathematical characteristics. The resulting patterns, displayed sequentially on the screen at a certain frequency, create the illusion of movement.
Computer animation is widely used both in the field of entertainment and in the industrial, scientific and business fields. Being a derivative of computer graphics, animation inherits the same methods of creating images.
Digital photo processing can become powerful tool implementation of the most complex author's plan. An example of the successful synthesis of the possibilities of the art of photography and digital processing in creativity is the work of Anke Merzbach. ..."Only the faces of those who have experienced pain have expression." Gloomy and melancholy works show us people - sleeping, dreaming, contemplating and yearning. “Only the faces of those who have experienced pain have expression,” she says about […]
Lee Mora is a digital artist from the USA who makes amazing photo manipulations and posts them on the Internet. These compositions are a fascinating journey into other dimensions, in which the most incredible things happen: space is transformed, gravity changes, and fantasy is intricately mixed with reality. Looking at these works of digital art, you can dream, come up with mystical story, but you can [...]
“Art reflects what is hidden deep inside each of us,” says Serbian digital artist Bojan Jevtic. His works are a mixture of photographs, computer effects, textures and layers with digital art elements, on which mysterious female images. To create his mysterious compositions, Boyan uses photographs found on the Internet - they are mainly portraits […]
Fantastic panoramas, cities under a dome, flying cars, anti-gravity and climate change - all our expectations and fears associated with the future are embodied in digital paintings created by Russian graphic designer Evgeny Kazantsev. Evgeny Kazantsev was born in 1978 in Sverdlovsk. Studied industrial design at the Ural Architectural Academy. Leads professional activity since 1996, specializing in identity, […]
Francesco Romoli, a talented Italian digital artist, knows very well what loneliness looks like. His series of works, titled Imaginary Cities, show a lonely man standing on a dimly lit street next to flat cardboard buildings. The space of these works is built according to one scheme: a dark and empty cracked surface on which a tiny person wanders. On scraps of cardboard […]
Czech graphic designer Filip Hodas creates stunning digital works, in which various abstract forms are combined with earthly landscapes. Using Cinema 4D and other graphics editors, the designer hones his skills in visualizing 3D objects, combining stunningly beautiful landscapes with foreign and abstract objects suspended in the air. Surreal landscapes of Philip Chodas Philip Chodas creates a fusion of hyperrealism […]
I was given the best advice at the university even before entering: during the course on drawing and composition, they suggested reading the book “Art and Visual Perception” by Rudolf Arnheim. I was the only one out of about a hundred people who found the book and started reading. But then things went wrong with the display of pictures on the e-reader, so reading was postponed from July to April.
Arnheim says a lot of smart things about composition, human perception of objects, children's drawing and a lot of other things and does a couple of analyzes of works of art. A must-read for designers to improve their skills.
From each chapter I wrote out what was important and interesting.
Equilibrium
WEIGHT OF ELEMENTS
The weight depends on the location of the figurative element. An element located at or close to the center of the composition, or located on a vertical axis passing through the center of the composition, compositionally weighs less than an element located outside the main lines indicated on the structural plan (Fig. 3).
The object at the top of the composition is heavier than the one placed below, and the object located on the right side has more weight than the object located on the left.
When analyzing a pictorial composition, the principle of leverage, borrowed from physics, can also be useful. According to this principle, the weight of the depicted element increases in proportion to its distance from the center of balance.
Weight also depends on the size of the object. All other things being equal, a larger object will also look heavier. As for color, red is heavier than blue, and bright colors heavier than dark ones. To cancel each other out, the area of the black space must be larger than the area of the white space. This is partly the result of the irradiation effect, which makes the bright surface appear relatively larger.
Ettel D. Puffer discovered "intrinsic interest" as one of the factors in compositional weight. The viewer's attention can be drawn to the space of a painting either by its content, or by the complexity of its form, or by other features.
The feeling of weight is facilitated by the isolation of an object from its surroundings. The moon and sun in a cloudless sky will appear much heavier than similar objects surrounded by other objects.
The correct form looks heavier than the incorrect form.
RIGHT AND LEFT SIDE
About positive vector
G. Wölfflin noticed that the direction of the diagonal going from the lower left corner to the upper right is perceived as ascending and gaining height, while the direction of the other diagonal appears to be descending.
According to Mercedes Gaffron, the viewer perceives the drawing as if he were focusing his attention on the left side of the drawing. Subjectively, he identifies himself with the left side, and everything that appears in this part of the picture has greater significance.
Obviously, when the viewer gets used to looking to the left, a second, asymmetrical center appears in this side of the picture. Just like the center of the frame, this subjective center will have its own meaning and can be expected to influence the composition accordingly. As a result, a contrapuntal relationship is created between the two competing centers.
BALANCE AND THE HUMAN MIND
Just as the expressiveness of life is based on directed activity, and not empty, meaningless calm, so the expressiveness of a work of art is generated not by balance, harmony, unity, but by the nature of the organization of directed forces, which are in balance, unite, acquire consistency and order.
Outline
The actual appearance of an object is formed by its characteristic, significant spatial features.
Smart words about counterform
Any stimulating model is perceived in such a way that the resulting structure will be as simple as the given conditions allow.
ABOUT SIMPLICITY
When a work of art is praised for its “inherent simplicity,” this is understood to mean the organization of all the wealth of meanings and forms in general structure, which clearly and clearly defines the place and function of each detail in a single whole.
In an absolute sense, an object is simple when it consists of large number characteristic structural features. In a relative sense, an object will be simple when it organizes complex material using as few distinctive structural features as possible.
Characteristics are structural properties that - when it comes to appearance object - can be described based on the size of distances and angles.
Fewer features in a limited area often contribute to more features of the whole, or in other words, what makes a part simpler can make the whole less simple.
I believe that the desire for the simplest structure inherent in brain activity makes the result of perception as simple as possible. But the simplicity of the resulting experience also depends on: a) the simplicity of the stimulus from which the perception model arises; b) simplicity of the meaning conveyed by the object of perception; c) the interdependence of meaning and the result of perception; d) psychological “attitude” of the perceiving subject.
A very simple meaning, clothed in a correspondingly simple form, will result in the greatest simplicity. (In a work of art, this phenomenon usually causes boredom.)
A part is a section of a whole that, under given conditions, shows some degree of separation of a particular section from the environment.
These rules [grouping rules formulated by Wertheimer] can be considered an application of one of the basic principles - the “principle of similarity”. This law states that the more the parts of any visually perceived pattern are similar in some perceptual quality to each other, the more they will be perceived as being located together.
Form
Orientation in this case exists only relative to the structure of the object. The perception of the position of an object is actually influenced by not one, but three such structures: 1) the structural basis of the visually perceived objective world, 2) the visual area of the brain onto which the image is projected, and 3) the structural features of the observer’s body, who has kinesthetic perception through the muscular sensations and balance organ in the inner ear.
So, the dynamic effect is not the result of either the imaginary movement of the viewer relative to the picture, or the depicted object relative to the perceiving subject. On the contrary, the dynamic effect is achieved as a result of the tension created by visually perceived contradictions in the pictorial model itself.
The early stages of art development contributed to the emergence of a simple form. However, it is impossible to assert the opposite: that simple form was always a product of early art.
If we take an Egyptian figure made of stone or a 14th century church altar from its usual surroundings and place it in a museum as independent work, then the limitations of their old form and content will immediately become apparent, since the new context requires them new form and new content.
In fact, the development of artistic imagination could more accurately be described as the finding of new forms for old content or (if we do not involve the dichotomy of form and content) as a new concept about an old subject.
The artist’s choice of one solution or another depends on the following factors: a) who the artist is, b) what he wants to say, c) what are the way and means of his thinking.
Development
About children's drawing
« General concept about the triangle” is the main, primary result of perception, and not a secondary, secondary concept. The distinction between individual triangles comes later, not earlier. The general concept of a dog is realized and felt much earlier than the concept of any specific dog. If this is true, then early artistic images, based on naive observation, must deal with universals, that is, with simple universals structural features. This is what is actually happening.
If I wish to represent the "roundness" of an object such as a human head, I cannot use the forms actually represented in it, but must find or invent a form that sufficiently embodies the visual universality of the idea of a circle inherent in the world of real things . If for a child a circle symbolizes a human head, then this circle is not given to him in the object itself. She is his brilliant discovery, an impressive achievement, which the child came to only as a result of difficult experimentation.
The ability to capture the "feeling" of a tomato in pictorial form distinguishes the painter's response from the formless contemplation that characterizes the non-artist when he reacts to the same objects.
The processes of drawing with a pencil, painting a picture, modeling various bodies and figures are types of human motor behavior, and it can be assumed that they developed from the two most ancient and most common types of behavior: descriptive and physiognomic movement.
Physiognomic movement is an integral part of bodily activity, which spontaneously reflects the character of a given personality, as well as the nature of a specific sensation at a given moment. A person's steadfastness or weakness, arrogance or shyness - all these traits are expressed in his movements. At the same time, the behavior of his body reveals whether he is interested or bored, happy or sad at the moment.
Descriptive movements are deliberate gestures designed to express specific visual sensations. We can use our arms and hands, often with the help of our whole body, to show how big or small an object is, whether an object is round or angular, how slow or fast a movement is, how close or far something is. -or located away from us.
Gestures often describe the shape of objects by their contour, by their outlines, and it is for this reason that the image of a contour is, apparently, psychologically the simplest and most natural method of creating an image with the help of hands. Filling a surface with paint, modeling a sculptural object, or carving wood entail movements that may result in a desired form, but which are not in themselves an imitation of that form.
Due to the principle of simplicity, preference is given to the round shape in visual perception. A circle with its central symmetry, independent of direction, is the simplest visually perceived model. We know that perception spontaneously tends to roundness when a stimulus provides it with such an opportunity. The perfection of the round shape attracts our attention.
In accordance with this law [the law of differentiation], the perceptual feature of the perceived object, while it is not yet differentiated, is reproduced in the simplest possible way. The circle is the simplest possible shape available to the visual arts. Until the form becomes differentiated, the circle will not symbolize the generalized concept of a circle, but will mean any shape in general and no shape in particular.
The child will not begin to reproduce oblique relationships before he has fully mastered the stage of vertical-horizontal relationships, unless premature complexity is imposed on him by the teacher or other authority figures. On the other hand, one can easily observe how children grope for higher stages of differentiation because they are dissatisfied with the limitations of the previous stage.
It should not be forgotten that one cannot rise to a higher stage of drawing unless it has been preceded by an earlier stage.
The art student who imitates the performing style of his adored teacher is in danger of losing his intuitive sense of right and wrong, because instead of mastering the visual form, he is trying to imitate it. His work, instead of becoming convincing and congenial for him, causes confusion.
Composer Arnold Schoenberg, the author of the most intricate music, told his students that their works should be as natural to them as their arms and legs. The simpler these works seem to them, the better they will actually be. “If anything you write looks too complicated for you, you can rest assured that there is no smell of truth in it.”
Space
In general, the laws of perspective imply that the larger the size of objects, the closer they appear to the subject perceiving them.
Parts located at the bottom tend to be closer to the viewer.
It has been established that surfaces painted with colors located in the short-wave range of the light spectrum, mainly blue or cyan, appear further away from the subject perceiving them than surfaces painted with colors in the long-wave range, primarily red.
For most people, convex columns are most often perceived as figures because, according to one of the laws formulated by Rubin, convexity tends to defeat concavity.
The basic rule is that the variant of the “figure-ground” pattern that creates a simpler holistic model will prevail. For example, the simpler the shape that the spaces between the figures in a drawing have, the more likely it is that they will be perceived as defined patterns rather than as an unbounded background.
As the space of the painting became an independent object and was freed from the walls, the need arose to distinguish between the physical space of the room and the independent world of the painting. This world begins to be perceived as endless - not only in depth, but also in the literal sense of the word. Therefore, the boundaries of the picture indicate only the end of the composition, but not the end of the depicted space. The frame of the picture was seen as a window through which the viewer looks into the outside world, squeezed by the boundaries of the frame, but not limited by it. In the spirit of our modern discussions, this meant that the frame in the picture should play the role of a figure, and the space of the picture should serve as an unrestricted base.
The frame, either narrowing to a thin strip (the limit of such narrowing is the contour), or retreating back, adapts to its new function: to give the picture the character of a limited surface, the character of a “figure” located in front of the wall.
There are various ways to resolve this dilemma [the window - a small limited space on the plane of the base - had to be a “figure” and at the same time it acted as a hole in the wall]. One of these paths is carried out using a traditional cornice. A cornice is not only a decoration, but also a certain way of framing a window. It emphasizes the character of the figure inherent in the opening and forms a protrusion at the bottom that limits the surface of the wall as a base. Another solution is to expand the window area. As a result, the walls are reduced both vertically and horizontally to the size of narrow ribbons or strips.
In architecture, the concave shape is more acceptable. This happens in part because architectural structure is not merely an imitation of organic bodies, but partly because architecture always has to deal with hollow interiors. Any interior, regardless of its appearance there is always a gap.
We see images of depth in flat paintings because we adapt to them our experience of dealing with three-dimensional bodies in physical space.
Conditions of distortion (you can't figure it out just like that)
The outline of a visually perceived model A will appear distorted if it can be obtained by applying to model B, which is more simplified than A, a change in shape C, which is also somewhat simpler than A; this change takes place along axes that do not coincide with the axes of model B and do not abolish these axes.
The frontal arrangement of the rhombus gives way to inclined position square. The oblique arrangement of the figure is less simple than the frontal one, so that we gain simplicity and at the same time lose it. Therefore, when we are dealing with volumetric perception, we should keep in mind that the undistorted shape in the oblique position contributes to a simpler situation overall than the distorted shape in the frontal position.
When simple symmetry is achieved in two dimensions, we will see a flat figure. If achieving symmetry entails a third dimension, then we will already see a three-dimensional body.
The perception of a model as two-dimensional or three-dimensional depends on the option with which a simpler model is formed.
The strength of the visual experience achieved through perspective focusing depends primarily on three factors: the angle of convergence, the degree of visibility of the distorted object, and the distance of the viewer from the picture.
Convergence will be more impressive when, for example, train tracks are shown across the entire visual field, rather than just in isolated small sections.
Convergence also depends on the angle at which the subject is photographed. When the camera's line of sight intersects the surface of the photographed object at a right angle, no distortion is observed. But if the angle deviates from 90 degrees, the reduction in foreshortening and convergence increase.
Light
If we have to deal with the frequent repetition of some event or the repeated perception of some thing and have learned to react to them completely calmly, then, in all likelihood, our mind and our feelings will not actively respond to them.
The artist's concept of light is formed under the influence of a person's general position and his reaction. This is done in two ways. Firstly, light is of practical interest to the artist as a means of focusing attention. Secondly, the artist's idea of light is based on the evidence of his own eyes - evidence which in itself differs significantly from the scientist's view of physical reality.
The brightness of objects on earth is perceived mainly as a property of themselves, and not as a result of reflection. Without taking into account special conditions... the illumination of a house, a tree or a book lying on the table is not perceived by us as some kind of gift from a distant source.
An observer cannot make a strict distinction between the brightness of an object and its illumination. In fact, he does not see any illumination at all, although he may be aware of the existence of a light source or even see it.
Whether a handkerchief appears white or not depends not on the absolute amount of light it sends to the eye, but on its place in the scale of the ratio of brightnesses that are observed in the eye. given time. If all the luminance ratios in a given visual field are changed in the same proportion, then each ratio will appear to remain “constant.” But if the distribution of brightness ratios has changed, then each ratio will change accordingly and there will be no constancy here.
Glow is somewhere in the middle of a continuum that starts with bright light sources (sun, fire, electric lamps) and extends to the dim illumination of everyday objects.
One of the conditions, but not the only one, for the perception of luminescence is that the object must have a luminance ratio that is much higher than the scale established for the rest of the visual field. Its absolute brightness can be quite low, such as we see, for example, in luminous golden tones on famous paintings Rembrandt, which have not faded for three centuries. On a darkened street, a piece of newspaper sparkles like a light.
In a uniformly illuminated object, it is impossible to see where it gets its brightness from. Its illumination, as I said earlier, seems to be a property inherent in the object itself. The same can be said for an evenly lit room. Theater stage, which is viewed from a darkened hall, does not necessarily give the impression that it is illuminated at the moment. When the light is evenly distributed, the scene can appear very bright world, a huge luminary.
In order to create the impression of a uniformly increasing distance, the scale of degrees of darkness projected onto the retina must increase at a certain rate in accordance with the laws of perspective in pyramidal space.
Parallel surfaces are “linked” together by the eye regardless of their location on the landscape, and this network of relationships is a powerful means of creating spatial order and unity. If a fly crawling over an object experiences nothing but an incomprehensible and irregular sequence of rises and depressions, then the attentive human eye perceives the whole, comparing all spatially correlated areas.
Modern fashion in the art of interior decoration dictates that the walls containing windows be painted a little brighter than the walls on which the light falls directly. This partially compensates for the effect of lighting and contrast.
In order for the eye to distinguish the illumination of objects from their brightness, two conditions must apparently be met. First, all brightness relationships due to lighting must be summed up into a visually simple, unified system; Likewise, the pattern of dark and light tones on the surface of an object should be fairly simple. Secondly, the structural models of the two systems should not coincide.
Artists such as Caravaggio sometimes used strong lateral light to simplify and coordinate the spatial organization of their paintings. Roger de Pille, French writer XVII century, said that if objects are arranged in such a way that all the light is collected together on one side and the shadows on the other, then such a collection of light and shadows will prevent the eye from wandering. “Titian called this distribution of sources a bunch of grapes, because the grapes, when divided, have their own light and shadow in equal measure and thus split the view in many directions, resulting in confusion; but if the fruits are collected into a whole bunch in such a way that there is one mass of light and one mass of shadow, then the eye embraces them as a single object.”
Shadows can be cast or cast. Superimposed shadows lie directly on objects, but they themselves are formed by their shape, spatial orientation and distance from the light source. Cast shadows are shadows that are cast by one object on another, or by one part of an object on another part of it.
There are two points that our eye must understand. The first is that the shadow does not belong to the object on which it is visible, and the second is that the shadow belongs to the object on which it does not fall.
A few words should be said about the convergence of shadows. Because the sun is so far away that in a fairly narrow range of space its rays become practically parallel, the light creates an isometric projection of the shadow, that is, lines that are parallel in the object are also parallel in the shadow.
But a shadow is subject to perspective distortion, just like any other visually perceived object. Therefore, it will appear to converge away from the point of contact with the object when it is behind the object, and diverge if it lies in front of it.
The object appears illuminated not only because of its absolute brightness, but also because it significantly exceeds the illumination level of the rest of the canvas. Thus, the mysterious light of rather dark objects is revealed when they are placed in an even darker environment. Moreover, glow occurs when brightness is not perceived as a result of illumination. To do this, shadows must be eliminated or, in extreme cases, reduced to a minimum, and the brightest light must appear within the boundaries of the object itself.
There are two main ways to depict lighting in a painting. The simplest and oldest method reflects the experience of perceptual separation in the very process of creating a picture. The object is endowed with a uniform local color and brightness, on which light and shadow are applied separately. Another method makes it possible to communicate to the eye an already combined stimulus that it receives from physical space. If each location in a painting is characterized by an appropriate ratio of brightness and color, then the viewer will make divisions and perceive the lighting of the painting in the same way as he does in physical space.
Color
Rorschach found that a calm mood promoted reactions to color, while people in a depressed mood were more likely to respond to shape. Color dominance indicates openness to external stimuli. People who prefer color are sensitive, easily influenced, unstable, disorganized, and prone to emotional outbursts. Preference and response to form is characteristic of introverted people, characterized by strict self-control, a pedantic, unemotional attitude towards everything around them.
Like color, emotion evokes only a certain attitude in us. On the contrary, the form seems to require a more active response. We carefully examine the object, establish its structural basis, and relate the parts to the whole. In the same way, consciousness acts under the influence of our impulses, it uses patterns, coordinates various types of experience and resolves issues related to the process of activity. When color is perceived, the action comes from the object and thereby affects the person. To perceive form, organized thought turns to an object.
The inertia of the perceiving subject and the immediacy of experience are more characteristic of reactions to color. The perception of form is characterized by active control.
Charles Feret discovered that the strength of muscle contractions and the speed of blood circulation increase from the degree of coloring of light, and in a certain sequence - least of all from the presence of blue, somewhat more from green, then from yellow, orange and red. This physiological feature of the human body is fully confirmed by psychological observations of the effect caused by this color, but there is nothing confirming whether we are dealing here with a secondary effect of perception or whether there is a more direct influence of light energy on motor behavior and blood circulation.
In one of his early studies, Sidney L. Pressey had his subjects perform simple motor actions, such as rhythmic finger tapping, under varying degrees of brightness and illumination. He found that in dim light the activity of the subjects froze, but in bright light it increased greatly. The difference in color shades did not affect the change in the actions performed.
Kandinsky says: “Of course, any color can be cold and warm, but nowhere is this contrast so noticeable as in red.” Despite all its energy and intensity, the color red glows within itself and does not radiate energy outward, thereby achieving full masculine strength. He is an unrelenting burning passion, a great force within himself. The color yellow never carries any deep meaning and is a waste of time. It is also true that Kandinsky spoke of it as a color capable of depicting violence or the delirium of the insane. But here he probably meant a very bright yellow, which seemed unbearable to him, like the shrill sound of a bugle. Dark blue plunges “into deep thought about all things that have no end,” while light blue “achieves silent calm.”
The appearance and expression of color changes depending on the content and theme of the artwork.
Movement
Expressiveness
The influence of the forces conveyed by the visual model is an internal property of the object of perception, just like shape and color.
If expressiveness constitutes the main content of perception in everyday life, then this is even more characteristic of the artist’s vision of the world. For him, expressive properties are means of communication. They attract his attention, and with their help he understands and interprets his experience, they determine the form of the models that he creates. The training of art students, therefore, must consist chiefly in sharpening their sense of these expressive qualities, and in teaching them to look upon expression as the leading criterion in every touch of pencil, brush, or chisel.
One of the points of wisdom that belongs to true culture is the constant awareness symbolic meaning, expressed in each specific event, a sense of the universal in the specific. This awareness gives dignity to every daily activity and prepares the ground on which art is based and grows.
The high appreciation of art is determined by the fact that it helps a person understand the world and himself, and also shows him what he has understood and what he considers true. Everything in this world is unique, individual, there cannot be two identical things. However, everything is comprehended by the human mind and is comprehended only because - each thing consists of moments that are inherent not only to a specific object, but are common to many other or even all things.
Expressiveness is the crown of all perceptual categories, each of which contributes to the emergence of expressiveness through visually perceived tension.
Any visual model is dynamic. This most elementary property in fact turns out to be the most significant attribute of a work of art, since if a sculpture or painting did not express the dynamics of tension, it could not faithfully reflect our life.
Many novice photographers who have just bought their first cameras begin to zealously study the technical side of the art of photography. Of course, this is important; in order to produce photographs with the correct exposure in the future, you need to know the technical basics. But having finished mastering the technical aspects, a person should pay attention to how to build a composition in order to get effective photographs. Spectacular photographs attract the viewer's attention and convey to him some emotion, thought, feeling. Capturing emotion and capturing attention are tasks that require learning, practice and experimentation.
Learning the basics of visual organization and understanding how they work will help you master composition skills. However, to achieve success, it is not enough to blindly follow the rules. In addition, the viewer's perception of the photograph presented in front of them depends on his background life experience, interests and what he is trying to find for himself. It is for this reason that the same photograph is often responded to in the most in different ways. The photographer must understand how people perceive different types of visual organization.
Line
A line represents a “path” between two points. The line can be straight, curved, vertical, horizontal, diagonal or zigzag. A line implies movement and suggests direction. The line can also be hidden, in which case it is built in the viewer's imagination; To do this, several “points” must be located in the frame in a certain geometric sequence.
Draw four connecting points for a square on paper, and your brain will draw the missing lines on its own, as it tends to look for and find familiar patterns. The direction and orientation of lines can also evoke certain emotions and feelings. For example, horizontal lines mean calm and tranquility, while vertical lines symbolize strength and power. Oblique lines imply movement, action and change. Curved lines shaped like the letter S are associated with calm and silence. Converging lines mean depth and distance.
A hedge on either side of a road or highway whose lines converge in the distance creates the illusion that a flat, two-dimensional image contains three-dimensional depth. Line is an effective element of visual art because it can lead the viewer's eye. To create effective photographs, look for such lines in the frame and arrange them in a certain way to convey certain feelings to the viewer.
Form
A shape is the end result of the interaction of adjacent lines. But the form can be conveyed without visible lines using colored elements that stand out or objects organized in the frame. Some primary shapes, such as triangles, circles, squares and hexagons, are found in nature in one form or another. Space is defined by figures and shapes. There is positive space, which is the space that forms and forms, and negative space, which is the empty space around shapes and figures. In a balanced frame, negative and positive space must balance each other.
Light and shade
Shape refers to the three-dimensional qualities of an object and affects areas of light and shadow. When light coming from one direction (such as light from the Sun) hits an object, part of that object remains in shadow. Areas of light and shadow in an image provide contrast and dimension.
Factors that can affect our perception of a photograph include the direction of the light source and the sharpness or softness of the midtones. Light coming from behind a subject can create a silhouette in a photo, causing an almost black subject to appear against a light, backlit background. Silhouettes are two-dimensional figures with no volume. The absence of color often enhances our perception of form, as happens, for example, with black and white photographs. Light falling from above or from the side creates the so-called “Rembrandt lighting”. This type of lighting emphasizes boundaries and depth. When it comes to landscape photography, the texture of the landscape is best seen in the morning and evening when the light hits at an angle. At this time, either warm or cold shades may predominate.
Color
Many studies have been conducted to study how color affects people. Some studies have shown that women and men may perceive color differently. Color affects our emotional state, different colors capable of evoking a wide range of emotions. Roughly speaking, color can affect the human nervous system.
Terminology
Color tone- defines the names of the primary colors, red, blue and green.
Combination of light and shadow- the amount of light or shadow in a color (in other words, the amount of black or white).
Intensity- purity and color saturation.
Monochrome color- use of one color (often one color is used, but in different tones).
Similar colors- colors located next to each other on the color wheel, for example, yellow and green.
The combination of similar colors living side by side on the color wheel is considered one of the most harmonious. Similar colors are often used in visual art and have a calming effect.
Complementary colors: colors that are opposite each other on the color wheel, such as blue-violet and yellow. Complementary colors placed next to each other provide more contrast. For example, yellow appears more intense when placed against a background of blue or violet (see photo below).
In the photo, green and yellow appear as analogous colors that harmonize with each other, and purple appears more intense against the background of complementary colors.
TO warm colors include: yellow, red and orange, they are associated with blood, sun and fire.
Cool colors include: purple, blue and green.
For this photo, a blue filter was used, which helped convey the “feeling of cold” to the viewer with greater expressiveness (Monochrome color).
We call colors cold and warm because they make us feel... associative series with corresponding natural phenomena. We consider red, yellow and orange to be warm colors, while blue, violet and green are considered cool colors. But such a contrast is relative, since the combination of green and yellow flowers will seem colder relative to red and orange, but against the background of blue and violet, on the contrary, this combination will seem warmer to us. Photographers may use different colors to enhance contrast or convey perspective. Cool colors have the ability to visually distance objects, while warm colors, on the contrary, seem to bring them closer to the viewer.
The warm sunshine brings you closer, and the cold blue shadows move you away.
Texture refers to the surface qualities or “feelings” that an object conveys—it can be smooth, rough, soft, etc. Texture can be actual (felt when touched) or implied (when the artist conveys texture through visual art). Texture is especially emphasized when the light hits the subject at an angle.
Composition
Arranging different elements within the viewfinder frame to create a dramatic shot is not as easy as it might seem at first glance. The artist has an advantage here, he can arrange objects in the picture as and where he wants, but the photographer must look for and organize the elements of the frame. And although sometimes the photographer can put his hand in and arrange the objects in the frame himself in the way that he thinks will be better (for example, leaves), very often such intervention leads to extreme unnaturalness, and the frame loses its mystery, becoming artificial. Nature is not always perfect, and, of course, organization produces more attractive results. Truly effective outdoor compositions come when the photographer finds a balance between man-made order and what nature has to offer.
The decision-making process we go through when we take photographs begins with the ability to see different possibilities. What we see depends on what we are looking for, what we want to see, and what our mind is willing to show us. The ability to “see” depends on the characteristics of our thinking and memory no less than on the eyes themselves. In order to “see” better, firstly, you should relax, calm your mind and learn as much as possible about the chosen topic and, in particular, about the objects that you will be photographing. Having found something worthy of attention, we must isolate part of the scene and arrange important visual elements within the viewfinder in a way that fully expresses our relationship to the subject.
Unity
By unity we mean the ordering of elements in a frame, as a result of which each element contributes to a single image. A photograph in which there is no unity between objects evokes conflicting feelings in the viewer, and as a result, he simply turns away. There are several ways to help achieve such unity in the frame.
Domination
The artist or photographer must sequence the visual elements and control the amount of attention each element receives. You can make some element the main one in a photo using size or color. Large objects prevail over small ones, and warm colors over cold ones. You can also draw the main attention to an object using its location in the frame. Naturally, an object located in the middle of the scene will attract more attention than if it were located somewhere in the periphery. But placing the object in the very center of the frame is not the best idea; it is more effective when the object is located slightly to the side of the center.
Another way is to use converging lines. As a rule, the eye, following the lines, comes to the point where they converge.
The leaf veins converge at one point, which is the main element of this image.
Dominance in a photograph can also be achieved through some kind of incongruity, i.e. using the difference between objects. If all the objects in the frame have the same color, shape or tone, but one of them does not correspond to them, then it will be the one that will take the main attention of the viewer. The brown blade of grass in the illustration below is the dominant element because it is a different color from the similar blades of grass that surround it.
Integrity
By integrity we mean harmony between elements that must fit together perfectly. In reality, the elements of the image may not be connected in any way, but in the photograph their shape, color and size should form one whole. Visual consistency can be achieved by using similar colors and tones, similar shapes, textures or sizes. The presence of a large number of similarities between objects or their absolute identity leads to boredom - in order for the image to have a zest, some kind of variety is necessary.
This photo shows stones that have a smooth surface, similar shape and color.
The concept of balance implies that all visual elements in a photograph have their own “weight.” Large objects tend to weigh more than small ones, just as dark objects weigh more than light ones. Great value has the position of objects. On a subconscious level, we perceive the center of a photograph or painting as a kind of axis of rotation. A “heavy” element located on one side of the photo can be balanced by a “lighter” element on the opposite side.
Balance can also be achieved through symmetry. The reflection of a mountain landscape on the smooth surface of a lake is a perfect example of such symmetry. Such photographs with mirror reflections can take on the qualities of abstract images. Let's remember the famous Rorschach test.
Positive and negative spaces
Positive space is the space that contains forms and figures; negative space extends beyond the boundaries of these forms and figures. In the photo below, the black area is the negative space that stands in contrast to the area with the groundhog and rock. Empty areas in photographs are the most important element because they bring balance to the photo.
Rhythm
Rhythm - regularly repeating elements. In music, rhythm means the regular repetition of certain musical notes. Objects are regularly repeated in photography. In music there is time between notes, in photography there is distance between objects. Rhythm makes viewing photos more interesting and easier, it calms our eyes, which can only follow rhythmically changing objects. For rhythm to be effective, it must contain some variability. Elements that are too similar or the same can be boring. Therefore, when composing a composition, look not only for repeating elements, but also for their variations. For example, if you depict in a photograph a fence with absolutely identical posts that differ neither in color nor condition, then this kind of rhythm will not hold the viewer’s attention for long. But if among the fence posts there are a couple of crooked ones, broken, unpainted, etc., then such a rhythm will create greater interest in the viewer.
If the pillars of this fence were the same height, the picture would be too monotonous. Yellow flowers are balanced by the negative space of the complementary blue color- the sky.
Proportions: Golden Ratio and Rule of Thirds
The concept of proportion refers to the ratio of the sizes of visual elements in relation to each other and to the photograph itself as a whole. One of the reasons why proportion is so important in visual art is that the viewer responds to ratio and size on an emotional level. Proportion has been studied by artists for hundreds of years, long before the first camera was invented. The most frequently mentioned and used proportion in visual art is the golden ratio.
Golden ratio: 1, 1, 2, 3, 5, 8, 13, 21, 34, etc. Each subsequent number after 1 is equal to the sum of the two previous numbers. The ratio 1:1.618 is called the golden mean - the ratio of the segment bc to ab is equal to the ratio of ab to ac. If you continue dividing each resulting rectangle using the same ratio, you will end up with a logarithmic spiral by connecting their corners. Such a spiral is often found in nature; remember shells, horns and some flowers.
The Golden Ratio or Pi appears frequently in nature and perhaps humans are programmed to recognize this ratio because its manifestations are visually pleasing. A study was conducted on leading top models, its results showed that in most cases their faces have the golden ratio of 1.618.
Many artists and photographers use the so-called rule of thirds, according to which the canvas or frame is divided into three sections vertically and horizontally, and the intersection points of the formed lines represent the areas where important visual elements should be placed. Golden ratio and its application are similar to the rule of thirds, however, the golden ratio rule is not as widespread and its intersection points are located closer to each other. In a landscape, an effective technique is to shift the horizon line in the frame to one of the horizontal lines, dividing the photo into thirds. There is nothing mandatory about applying the rule of thirds. When placing visual elements in a frame for an effective composition, it is necessary to evaluate many factors, including color, size, and the superiority of one object over another. And sometimes, on the contrary, you can resort to a slight imbalance in order to express certain emotions. We must rely on our artistic sense and intuition. Each of us is unique and we must strive to preserve the feelings and impressions that the chosen topics evoke in us.
Golden ratio grid applied to a simple composition
Rule of thirds grid applied to a landscape
I analyzed some of my favorite photographs by overlaying them with grids (rule of thirds and golden ratio grids in Photoshop). In the end, I discovered that many of them actually correspond to the rule of thirds and, to a lesser extent, the golden ratio. I suspect that analyzing the work of other photographers will yield similar results.
In summary, while you should not forget about proportion as an important aspect of photography and any visual art, you should also understand that other factors, along with your unique perception of the subject, dictate where the elements of a photograph should be placed. Understanding proportions and the various design components is a guide, but you should first follow your own intuition and knowledge. Don't be afraid to experiment and try something radically different each time, learning from both mistakes and successes.
Film 35mm has a size of 36 mm by 24 mm (ratio 3:2), golden ratio 1.6:1. It is recommended to place important elements at intersection points.
Chaos - Simplicity vs Complexity
Chaos refers to the disordered arrangement of elements and is often found in nature. Many photographers set out to take a photograph that demonstrates the underlying order alongside the surrounding chaos. As a result, in order to get to the truth, to what the author originally wanted to show, the viewer must make some effort. Beginners in photography often fit too many elements into the frame, as a result of which the main ones are simply lost. However, overly simplified compositions are not able to hold the viewer’s attention for a long time; for example, a photograph with a dried leaf may seem interesting at first, but after a minute interest in it disappears. But the photo just below, which depicts a forest after the rain, has so many textures and shapes that it will take much more time to study it, and, returning to it again, you will again and again find new, previously unnoticed details. The ability to introduce and control complex elements while maintaining composition requires vision, which in turn takes time to develop.
Let's sum it up
Understanding the components of visual art and how they affect our emotions can help us create more impactful photographs. But you should understand that following the rules and guidelines does not guarantee success. Creating a successful photograph depends on many things that must come together in the frame: timing, light, color, composition, and the ability of the audience to feel the message you were trying to convey. Probably, many creators rely more on their intuition and instinct and arrange visual elements the way they think “should be”, while leaving all the basics and principles in the background. As Freeman Patterson said: “ Good composition always harmonizes with what is shown in the photograph.”
Another effective method for improving composition is to compare your photographs with photographs of other photographers whose work inspires and admires you. Imitation is one of the possible ways to develop skills. By imitating the styles of other artists, you will inevitably develop your own unique style over time, however, many photographers refuse to admit this. Borrow the stylistic features you like and integrate them into your own photos in your own way. Compare your work to your favorite photographers from a technical and aesthetic perspective. Be critical of your work and look at things realistically. The better you become as a photographer, the more critical you will be of both your own and others' work. Listen to people's opinions about your work. My wife doesn’t understand much about visual art, but I know that if she likes a photograph, then most people will also perceive it positively.
Each person understands the meaning of art differently: some elevate and extol it, while others vomit it into the abyss of emotions. A person can do without works of art in everyday life, but emotional hunger requires knowledge of real art, which gives a feeling of happiness, joy and peace of mind. It can transport a person to the world of dreams and fantasies, which everyone expresses in various forms of art. We will look at them below.
Plastic or spatial arts
fine arts
This type of creativity aims to reproduce the surrounding world and sense it visually. For the sake of this type of art, many artists abandoned a calm, well-fed life and burned at the altar of art. The works of masters became the causes of political clashes and wars. Collectors were ready to incur a curse on themselves. This is what people are willing to do for the sake of art.
- Painting. The art of depicting reality with colors. It consists of objects depicted in a multi-colored palette on the surface. The artist can express his inner world and emotions on canvas, easel and cardboard. This genre is divided into several types: easel, monumental, miniature.
- . The art of depicting objects with strokes and lines. On the one hand, both adults and children can do this, having only a sheet of paper, paints, and pencils. But not everything is so simple, and those who believe that graphics are publicly available are mistaken. This is a complex type that needs to be trained if you want to become masters of this craft. The artist applies strokes, lines and spots on a plane (wood, metal, buildings, cardboard, and so on), using one or two color schemes (in some cases, a larger number can be used). This genre is divided into several types: easel, computer, magazine and newspaper, book, applied and industrial.
- Sculpture. The artist expresses his works from solid and plastic materials that have a three-dimensional form. The works captured in the materials are capable of conveying vitality objects of creation. This type is divided into several types: sculpture of small forms, monumental, easel, small plastic and monumental - decorative.
Constructive art
The master expresses his creativity in playback artistic buildings, organizing the spatial-objective environment around us , without depicting anything. Divided into two genres:
- . Based on the life, views and ideology of society and easily adapts to changing styles in different historical periods life. This genre is divided into several types: urban planning, landscape and architecture of volumetric structures.
- Design. This is an aesthetic symbol modern world. By creating masterpieces, the designer consolidates the style of the era with his creativity. It is divided into several genres: exhibition, subject, landscape, interior design, clothing and books.
Arts and crafts
Creative works of this art have practical use in everyday life . The basis of this art are various branches creative activity aimed at creating artistic products with utilitarian and artistic functions. Divided into several types:
- ceramics;
- forging;
- glass;
- tapestry;
- clay toy;
- sewing;
- applique;
- quilts;
- artistic treatment skin;
- weaving;
- stained glass and much more.
Temporary arts
The composer expresses his spiritual beauty and picture of the world with the help of sound tones and rhythms, meaningful and organized in an orderly manner. This is the spiritual language of the material world, reproduced using musical instruments (their basis is a resonator), unconsciously grasped by the ear. Types of music can be divided according to different criteria, for example, according to the nature of performance, it is divided into types such as vocal, instrumental, chamber, solo, electronic, vocal-instrumental, choral and piano. By habitat - military, church, religious, dance and theater. But basically it is divided into two types:
- vocal;
- instrumental.
Most often, this type of art means only fiction, but not everything is so simple. In addition, this includes scientific, philosophical and other works that reflect the views of people. Here works are created using words and writing. They reflect the totality of branches of knowledge of a particular science or specialty. Literature is divided into such types as educational, technical, scientific, artistic, reference, memoir and documentary prose. Created in several genres:
- folklore;
- prose;
- poetry.
Space-time arts
This is a combination of several types of art, such as literature, choreography, music, poetry and so on. The theater has its own views and views on displaying reality and does this with the help of dramatic action. This is a collective art, expressing its ideas with the help of actors, directors, screenwriters, stage managers, composers, costume designers and make-up artists. Consists of several types such as drama theater, puppet, opera, ballet and pantomime.
View artistic creativity, based on various technical means recording and playback of images in motion accompanied by sound. There are several types of this art - these are feature films, documentaries and short films.
Expression of emotions and inner experiences with the help of body movements, built into a specific work, accompanied by music. People have the opportunity to express their feelings, themes, ideas through pantomime, scenery and costume. Has its own directions and styles: ballroom dance, historical, ritual, folk, acrobatic, pop and club.
