Composition theory. Model of the structure of the theory of composition in the visual arts

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

Basic concepts and terms on the topic:

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

Topic study plan

Types of composition.

Composition elements.

formal composition.

Practical work No. 1 (task 1).

Posting new material.

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

In the visual arts, composition is the construction artwork conditioned by its content, nature and purpose. The most important plot elements of the image are not placed randomly, but form simple geometric shapes: a circle, a square, a triangle, a rectangle, an oval.

Types of composition

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

Consider 3 main types of composition: frontal, volumetric, volumetric-spatial.

Frontal. The distribution of elements in two directions: vertical and horizontal. It includes planar compositions and relief.

Volumetric. The distribution of the element along the coordinates of height, width and depth.

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

Frontal composition

The name itself suggests that the entire plane of the sheet is filled with an image. Such a composition does not have axes and a center of symmetry, does not tend to become a compact spot, it does not have a pronounced single focus. The frontal composition is often used in the creation of decorative works - carpets, murals, fabric ornaments, as well as in abstract and realistic painting, in stained-glass windows, mosaics. Usually such a composition is open.

The conditions on which the preservation of the frontality of the composition depends:

1) A certain ratio between vertical and horizontal dimensions.

2) Frontality depends on the silhouette of the plane.

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

4) Surface texture, color...

Rice. 1. Front composition

Volumetric composition.

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

Rice. 2 Volumetric composition.

Spatial composition.

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

Rice. 3. Spatial composition

Spatial composition as a form is often confused with a picture that conveys the illusion of space. There is no real space in the picture, it is a planar composition in form, in which the arrangement of color spots sequentially, as it were, removes objects from the viewer into the depth of the picture, but the image itself is constructed over the entire plane.

Composition elements

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

The first basis of the impact of painting on a person, according to Leonardo da Vinci, is a point, the second is a line, the third is a surface, the fourth is a body that is dressed by a surface.

Atdots and lines there are no properties (except one: if a point is increased to a certain size, it turns into a spot, and vice versa).

Property classificationspots:

Physical: dimensional (dimensions and proportions)

Plastic (shape and structure)

Spot surface properties (color, texture, texture, etc.)

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

The essence of the concept of "harmony"

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

The essence of the concept of "formality"

formal composition. The form is interconnected with the content, but it is possible to separate the form from the content by replacing realistic objects with formal (or abstract) ones, but in such a way that the formal composition expresses the idea and artistic design through:

Characteristics and properties of composition elements

Through the structural organization of the elements of the composition.

There are 3 main formal features of the composition:

1. Integrity.

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

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

2. The subordination of the secondary to the main, that ispresence of dominance.

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

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

3. Balance - basis of harmony in the work.

Balance is the arrangement of the elements of the composition, in which each object is in a stable position.

To establish balance in the composition, the form, direction, and location of the pictorial elements are important.

Symmetry and asymmetry

Symmetry - asymmetry - categories of composition, expressing the physical law of equality of moments of forces and associated with the principle of equilibrium.

Symmetry is the identity of the elements of the form, equally located relative to the middle line (axis) of symmetry, the center of symmetry, the plane of symmetry. Types of symmetry - mirror, axial (compatibility is achieved by rotating the figure about the axis of symmetry), screw.

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

Symmetry is always balanced, asymmetry requires visual balancing.

Laboratory work - not provided.

Practical lessons

Constant striving to improve the quality of life, including its artistic and aesthetic side updates fundamental research in the field of the foundations of art - composition. Now it is considered in three ways: the expression of the structure of the work itself, the scientific discipline of the architectural, artistic and art history direction about the visual design of the idea in the work, they can also call the finished work as a synonym for the work.

It is also relevant because it is very common contradictory attitude to composition as a set of rules and techniques that can solve all the problems of the artist. As if composition is such a logical, systematic and functional discipline. But it's not. Despite the designated fundamental value of the standard for the unity of training, professional communication and practice according to a common empirical assessment, there is no system in the composition. Although the graphic artist and art theorist N. N. Volkov in his book "Composition in Painting" back in 1977 spoke about the need to create a theory of composition, and also formulated a number of basic tasks that the theory of composition as a science is designed to solve, these thoughts have not acquired their logical solution neither in aesthetics, nor in art criticism, nor in pedagogy. Those interested in composition are faced with an objective problem the absence in the visual arts of a unified normative theory of composition. Historically accumulated experience and knowledge of composition constantly appear in scientific and educational literature, however, each scientist, artist or teacher interprets their structure and content, often unreasonably at their own discretion in their own layout with very different individual content. This can be verified by comparing several studies teaching aids, lecture notes, video courses, etc. Even among reputable scientists there is no agreement. For example, folk artist USSR and professor, academician of the Academy of Arts of the USSR, E. A. Kibrik, according to the memoirs of another artist, scientist and teacher E. V. Shorokhov, distinguished three basic laws: typification, expressiveness and integrity. The meritorious worker high school Russia, doctor of pedagogical sciences, professor, member of the Union of Artists E. V. Shorokhov in his work “Composition” calls such laws as the law of integrity, the law of contrasts, the law of novelty, the law of subordination of all means of composition to the ideological design, the law of vitality, the law of influence “ frames". Further, he refers rhythm, plot and compositional center, symmetry, asymmetry, parallelism of the composition, the location of the main thing in the background to the compositional rules. The scientist refers to the methods of composition the transfer of the impression of monumentality, space, horizontal and vertical, diagonal directions. To the means - a line, dashed lines, a spot (tonal and color), chiaroscuro, the laws of linear and aerial perspective. This begs the question as to the basis for such a classification. Why is contrast, according to E. V. Shorokhov, a law, and not a means (together with rhythm), expressing the compositional center and meaning of a work? Why a line, a stroke, a spot are means of composition when they are morphological elements of all fine art. In other words, the existing classifications do not stand up to scrutiny.

Coming from the problem, the work is chasing target to model a variant of the structure of the composition with an explanation of the content of its elements, both to help students and painters, and to consider the possibility of accepting it as a normative one. In other words, call on artists, art historians and educators to agree once and for all among themselves and propose a model.

theoretical basis the same accumulated experience and knowledge, captured in theoretical works, diary entries, correspondence of artists, teachers, art critics L. B. Alberti, E. A. Kibrik, V. A. Favorsky, K. F Yuona, E. V. Shorokhova, N. N. Volkova, M. V. Alpatova, G. I. Panksenova and others. , R. Arnheim. Methodological base work mainly consisted of an analysis of different theories, their comparison, criticism through the prism of logic and functionality, synthesis, structuring and modeling.

essence author's concept models of composition theory (expressed in the logical-structural diagram in Figure 1), largely based on existing experience and knowledge, expresses a new system of views and approaches to their organization. Art is cumulative in nature (new achievements do not cancel the old ones, but join the common treasury of achievements) and time-tested experience in creating beauty, with revealed objectively working patterns, facts and ways of expressing conceived ideas, should be introduced into various groups structural elements according to the relationship of function and subordinate to the extent of their ability to express the artist's intention.

The most difficult thing to combine in one model is the compositional process (the recommended algorithm for working on a work) and the theoretical propaedeutics of composition, because these are completely different structuring logics. The difficulty lies in the fact that real life there is a process and there is a theoretical content of the process, and in theoretical knowledge it is possible to consider the algorithm of work on the composition in the structure of detection methods artistic image. It would seem convenient to classify the stages of the process with its own theoretical content, but it is difficult to do this in view of the fact that the composition is developed as a whole from the very beginning and the stages of conception, decision and execution determine only the degree of elaboration of a work with the same theoretical content. Therefore, the author's decision is to divide theory and practice into two unrelated sections: composition as a process and compositional propaedeutics, although in life they are interconnected. And this is not an ambitious desire to embrace the immensity, but the need for a detailed division and a new generalization, which is necessary to describe the overall picture of compositional knowledge.

Naturally, first of all, like any scientific discipline, compositional propaedeutics should describe the definition, scientific foundations and interdisciplinary connections, the history of development and other necessary elements of the scientific apparatus of the discipline. In this part, it can be argued that the various theories of composition are conceptually the same. One can also agree with the variety of definitions. each of them introduces only specific nuances into the general explanation of the term, which (by itself simple definition, for example, S.I. Ozhegova), coincides with direct translation and means compilation, arrangement of parts.

Further, the fundamental category for mastering compositional propaedeutics is artistic image. It is he who, logically thinking, determines all the other choices of the artist after the idea, starting from the direction and type of art, ending with specific methods of organizing pictorial elements in a work. In this section of knowledge, one should consider the definition, the history of the development of the concept and the philosophical concepts of its understanding. Based on the definition of the artistic image as a form of interpretation of the world in aesthetically affecting objects, the theory should be divided and considered further in the context of interconnection and differences. Topics works and method its display, since the categories answer fundamentally different questions: the topic is “what to draw”, and the method is “how to draw”. The division helps to identify learning vectors and apply knowledge in practice in critical analysis. The interconnection of the sections is manifested in the fact that the topic largely determines the methods, but the same topic, depending on the preferences of the author, can find its visual embodiment in various methods. In the author's opinion, groups of knowledge that are further useful for composition can be more accurately considered in the paradigm of methods for expressing an artistic image. Thus, the methods include a number of choices related to plot, fine art, (painting, graphics, sculpture), direction(objective art or non-objective), material And technique in which the idea will affect the viewer more effectively. It should be noted that in practice the artist does not set himself the experimental tasks of choosing an art form, direction and genre, but works more or less constantly in a certain genre, material and manner, due to personal interests, inclinations, image-expectation (or pre-created vision) . In other words, the painter rarely turns into a graphic artist, an abstractionist into a realist, etc. As a rule, sketch search is carried out in the direction of the plot and technique. For the sake of completeness of the theory, it is necessary to designate properties of objects of the transmitted world, based on the golden rule of image formation, which says that the material of the work, the color in which it is painted and the form itself must harmoniously converge in the work. As for trends in art, the sections devoted to comparing non-objective composition and subject (genre (reflecting any genre of art) or associative (violating classical Aristotelian unities)) are important. In the author's opinion, at the level of initial search sketches, the development of an image in object art may look like a very abstract distribution of dark and light, large and small spots of future objects of the observed world. Consequently, approaches to the presentation of any properties of the composition have both similar features and general recommendations, as well as specifics. Further in the article it is proposed to introduce into the methods means of enhancing imagery which are known from literature: allegory, antithesis, hyperbole, grotesque, litote, metaphor, quotation and others. To varying degrees, they can influence the reading of the plot or the character of each character and in a work of fine art. Separately, the topic for fine art has not been developed, but it has the potential for research. For example, in order to convey the character more strongly, individual traits are shown a little grotesque, strengthened. Let us also recall the famous Russian symbolists M. A. Vrubel and V. E. Borisov-Musatov, as well as G. Klimt, whose images are entirely allegories and personifications. However, the formation of the image may also apply stylization in two main aspects: giving a specific style to the era and country, or the author's interpretation of the form to please the idea. And of course, the method of expressing the image includes a large and difficult to interpret section. composition organization or placement of all pictorial elements in terms of physical or logical boundaries. This section includes and describes principles, laws, rules, tricks, facilities composition, and kinds, types And properties, i.e. specifically, what determines the location of the figurative element in one or another part of the format. Based on the analysis and comparison of various theories, it is in terms of laws and rules that mass discrepancies are revealed. It is understandable, because the correlation of principles, laws, patterns and rules is an actual philosophical and scientific problem for the humanities. Neither political sciences, nor history, nor linguistics, nor ethics, aesthetics and art history establish any scientific laws, but give a causal explanation of the phenomena under study or highlight evaluative statements.

The author's conclusions and proposals for this section were previously presented in detail and convincingly in the article "The concept of the theory of organization of composition in the visual arts" in No. 4 of the journal "Art and Education" for 2017. The main idea of the article was to focus on the principles of composition, and it was proposed to deprive the laws and rules of an independent place in the structure and put them at the service of achieving compliance with the principle. Indeed, what limits can a creator have? Even Aristotle, Plato, Quintilian said that art does not obey the laws (although they talked about the art of pedagogy). On the one hand, the ever-changing aesthetic tastes of society, taking into account the development of technology, make it impossible to categorically apply the “time-tested” (formulated to achieve the aesthetic ideal of a certain era and direction) laws and rules to contemporary art. On the other hand, general laws are not suitable for solving individual non-recurring problems, because in one composition the idea dictates its decision in one way, and in another - in a diametrically opposite way. The disadvantage of all peremptory laws and rules is that there is no serious analysis of the connection between the content of the composition and the desired compositional forms of expression. So, laws and rules are not suitable for expressing an idea. However, it is promising to introduce the accumulated experience, distributing functions according to kinship, into the structure of indicative principles, which can be relied upon when solving problems related to the expression of an idea. And both with a positive value, and vice versa. Indeed, in philosophy, a principle is the same as a foundation, that which underlies a certain body of knowledge or facts. The law is perfect for describing the physical and mathematical manifestations of the surrounding world, but where the diversity of human (cultural) manifestations in life does not fit into a clear, complete form of the law, the principle gives greater freedom for generalizations. But to describe and achieve compliance with a specific principle, laws and rules can be formulated. Perhaps such an approach to the professional community will seem radical. It is difficult to immediately abandon the knowledge to which a professional-value attitude has developed over the years. We justify the point of view by the fact that a rule is usually a clear instruction on what needs to be done to achieve compliance with a certain condition. The question immediately arises of which one, if we are talking about composition in general and about the always different author's idea. And everything falls into place when we achieve compliance with a certain principle. Law is a category denoting objective, essential, recurring, stable connections within a phenomenon or between phenomena, system components, reflecting the mechanisms of its self-organization, development and functioning. In philosophical dictionaries, the interpretation of laws and principles is largely synonymous, and the problem of correlation is as eternal as the dispute between materialism and idealism, because, speaking of the same phenomenon, laws are descriptive, and principles determine directions for action. The scientist and educator Maria Alexandrovna Erofeeva came to the same conclusions in her research. Let her do it for pedagogy, but the rational grain can be extrapolated to the fine arts. The meaning of her conclusions is that the laws do not contain direct instructions for practical activity. They are only a theoretical basis for the development and improvement of rules and principles. As a result practical advice and requirements find expression in principles and rules. They (principles) as guidelines, fundamental principles determine the content and practical recommendations, characterize the ways of using laws and patterns in accordance with the intended goals. Separate aspects of this or that principle reveal the rules. Rules follow from principles.

Then the proposed composition organization structure may look as described below. Further, the principle of balance will be named, which calls for an even distribution of pictorial elements within the format, but it can be omitted to please the author's idea. The law can sound like this: a figurative object placed close to the edge of the format attracts a lot of attention and causes a feeling of striving for the edge, discomfort and outweighing the half of the sheet in which it is located. It is clear that the pictorial plane can be balanced by placing some object near the opposite edge. The rule will be as follows: to create a balanced sensation, you should divide the format into four parts by the horizontal and vertical axes and fill each with pictorial elements. But this is subject to the condition that it is necessary to achieve a balance. This is how the methodology is designated, according to which a painstaking scientist can himself formulate a lot of laws and rules. The article sets the task of identifying a place in the structure of large groups.

The group of principles will be: proportionality, balance, structuredness, integrity, expressiveness, originality and novelty, displaying the passage of time, truthfulness (or vitality), taking into account the psychology and physiology of perception. Proportionality, in fact, lies in the fact that within the physical or logical boundaries of the pictorial plane, the cluster of interacting elements of the composition should not be small (to leave voids in which nothing happens) or large (to create a feeling of tightness). Equilibrium proposes to arrange pictorial elements, preventing the accumulation of their bulk in any one part of the sheet, leaving the rest empty. Structured as a principle determines the identification of the main and the subordination of the secondary to it. the simpler and clearer the system of interconnections of elements and colors in a composition, the more intelligible it is. Integrity as a principle, it calls to perceive the composition as a unity of ideas, shaping, scale, color, techniques and material, in which nothing can be moved or replaced, from which nothing can be taken away and to which nothing can be added without prejudice to emotional impact. expressiveness focuses on such artistic reflection reality that excites and maintains the attention and interest of the public. Originality and novelty is determined not by a previously non-existent author's development, but by a departure from the so-called "mainstream" and finding the author's circle of interests and a pictorial language unlike anyone else. Displaying the passage of time was first formulated by N. N. Volkov (although he called it the law of vitality), explaining that the depicted moment of the plot should contain a hint of past and future development. Truthfulness as a principle, it recommends that the artist only tackle topics that are thoroughly known to him, in order to correspond to the whole truth of life. The principle of taking into account the psychology and physiology of perception The viewer invites the artist to model the correct interpretation of his work by the viewer, taking into account the language of graphic symbols and colors, cultural codes, the physiological foundations of vision and the psychology of perception. After all, in addition to the semantic level of perception, where the plots of the objective world are deciphered, levels are also created that affect the viewer with resonance with deep sensations, associations, gestalts - the building blocks of the psyche. It is no coincidence that the scientific discoveries of the German Gestalt psychologists K. Koffka, M. Wertheimer about human perception play an important role in the field of fine arts. Of great importance for the visual arts is the book of R. Arnheim "Art and Visual Perception".

To ensure compliance with the principles, in addition to laws and regulations, the lowest level is tricks And ways. You can name many of them, for example, framing a figure with foliage in the Renaissance, entering the composition through a shadow on foreground, inscribing elements of the composition into a geometric shape, thickening and rarefaction, pause and overlay, bringing together all the perspective lines of the picture in the compositional center, etc. The defining moment for the reception or method is the specificity of the issue being solved, the organization of the element or group. It is pointless to list and describe them, because as a result of many years of practice, their own can be developed.

Also known and important for the organization of the composition is a group of morphological means (which objectively determine the appearance). Whether you compose the composition consciously or intuitively, they are always present with different strengths. They are usually called expressive means or means of expression. Sometimes they are also called "means of harmonizing the composition." The meaning of the means is, firstly, to reveal the compositional center or the main thing in the work. Secondly, by determining the shapes, sizes, alternation, brightness and color of the pictorial elements, they create a system of accents, stimuli for the perception of the viewer, directing him along the trajectory conceived by the artist, revealing from one semantic node to another a complete picture of the author's intention. Thirdly, they reveal the emotional mood of the work, giving the composition such properties as, for example, statics, dynamics, massiveness, lightness, calmness, tension, etc. The list of tools consists of format, contrast, nuance, tone, color, rhythm (meter), scale and proportions.

picture format, rather, its geometric shape and proportions often determine the perception of the image. Contrast as an artistic means is to oppose two opposing qualities to focus attention. Technical contrasts of shapes, colors, tones give the composition a decorative force. semantic contrasts determine the nature of the artistic image. In contrast to the contrast nuances calm the perception of the viewer, generalize the elements into a whole. expressive ability rhythm consists in what trajectory the eye must pass in order to “get” from one object to another. If the distance is not large and the eye quickly "jumps" from one element to another, then the rhythm accelerates, and vice versa. In addition, the rhythm in the painting is manifested in the construction of the color-tonal system of the image and in the energy of coloring strokes. scale the semantic significance or scantiness of the object of drawing, massive and lightweight sensations can be expressed. At the same time, the author's experience has noticed: large forms tend to visually group smaller ones, medium ones, as a rule, perform the main task of creating a plot, and small ones exquisitely decorate the work. Proportions allow you to create certain emotional sensations of loftiness or squatness in the picture, to achieve decorative effects and stylizations. A huge aspect of proportioning in art has to do with the use of the golden ratio. Tone according to the principle of contrasts, it highlights the main thing, and can also set the general emotional mood. By analogy with life observations dark paintings are associatively associated with difficult, pathological mental states, and, on the contrary, light ones are associated with joy and purity. Color conveys meaning and emotional mood with its own (saturation, color tone, lightness) and non-own qualities (having mental, physiological, cultural, religious, social, ethnic and individual levels of its perception).

To the qualities and properties of the composition it is proposed to attribute such associative concepts as its static nature, dynamism, symmetry and asymmetry, massiveness, lightness, delicacy, sonority, deafness, darkness, lightness, etc. These qualities are created in the work by the previously listed means. They serve not as an end in themselves, but only as a way of conveying the general state, achieving a certain emotional mood in the work.

Composition types two are invariably named: closed, i.e. bounded along the edges of the sheet by pictorial forms like “backstage”; And open, with free open edges of the pictorial plane.

Types of composition also stably in various literature is called on the basis of the spatial arrangement of elements. There are three types of composition: frontal, volumetric And deep-spatial. Frontal composition (planar) is a 2-dimensional composition, it is developed horizontally and vertically. inherent decorative works, based on flat divisions of the form, ornamental compositions and possibly some manifestations of abstractionism. Volumetric composition is characterized by the distribution of mass along 3 coordinates of space, forming a three-dimensional shape, for example, a round sculpture. Deep-spatial composition is characterized by the creation of images designed for the perception of width, height and depth, i.e. usual realistic image, which copies the observed world with its three dimensions.

Considering composition as process, the practice defines three main stages: design, solution, performance. This is a purely applied experience-optimized knowledge that allows you to quickly work on creative work, while achieving the most expressive correspondence of the work to the image-expectation from the author's imagination. The content of the stages is described in detail in a separate previously published article "Stages of work on visualization". Let us only denote that design is characterized by the design of acceptable forms of visual embodiment in a sketchy search for a vision of an idea pre-created in the imagination. In other words, at this stage, a cursory sketching in a free manner is required without a specific drawing of the details of all the possible options for displaying the theme that came to mind, because. it is difficult to accurately convey a dynamic performance devoid of boundaries. A common method of forming an artistic image is writing a short story before work and visualizing it line by line in the composition. At the stage of conception, it is necessary to achieve compliance with the requirements of integrity, subordination, balance, novelty, expressiveness, etc. It is important to lay the harmonious interaction of the masses of the main and the secondary, large and small, dark and light under the conditions of the “frame effect”. To create by means of expressiveness a system of visual stimuli that guides the eye and thought of the viewer along the trajectory conceived by the artist. All of the listed initially found qualities with careful attitude in the process of work will not disappear anywhere. Otherwise, they will have nowhere to come from in the final performance. The number of sketches depends on the degree of approach to the idea-concept and the design of the variant, outlining the exact trajectory of further detailed development. per stage solutions should, having previously selected one of the most potential sketch options, develop it strengths and work out in detail each image or character, find beautiful movements, clarify lines, scales, rhythms, tones. The plot should be cleared of confusing details that cause distracting sub-meanings and associations during perception. At this stage, if necessary (depending on the direction in art), access to natural material reflecting the truth of life is carried out: natural sketches are created and applied, photos and the Internet are used. The method of finishing the image with the help of cripples is also characteristic of this stage. The logical conclusion of the stage is the creation of a "cardboard" (a detailed sketch in full size of the painting for transfer to canvas) for future work. Execution- the final stage of work on the work, in which nothing changes in the solution found. A sketch or a project is extremely accurately embodied in the material. Thinking of a sketch in an effort to strengthen artistic expressiveness work, without first analyzing the possible result, is not allowed.

The article rises difficult topic, and tasks are set that seem impossible to complete perfectly. Despite this, the author's model of composition theory is conceptually presented and can be, if not the backbone, then the reason for further fundamental developments. The article is intended, firstly, to draw attention to the need to check the logic of many existing developments on the topic, and secondly, to encourage colleagues to agree on the idea among themselves, possibly on the basis of the proposed model.

A. S. Chuvashov

List of sources used

Shorokhov E. V. Methods of teaching composition in the lessons of fine arts at school: a guide for teachers. – Ed. 2nd, revised. and additional Moscow: Education, 1977. 112 p.
Shorokhov E. V. Composition. A textbook for students of artistic and graphic faculties of pedagogical institutes. – Ed. 2nd, revised. and additional Moscow: Education, 1986. 207 p.
Ozhegov S.I. Dictionary of the Russian language: approx. 57000 words. Ed. member corr. Academy of Sciences of the USSR N. Yu. Shvedova. - 20th ed., stereotype. M.: Russian language, 1988. 750 p.
A Concise Dictionary of Aesthetics: A Teacher's Book / Ed. M. F. Ovsyannikova. Moscow: Education, 1983. 223 p.
Philosophical encyclopedic Dictionary/ Ch. editors: L. F. Ilyichev, P. N. Fedoseev, S. M. Kovalev, V. G. Panov. M.: Soviet Encyclopedia, 1983. 840 p.
Chuvashov A.S. The concept of the theory of organization (construction) of composition in the visual arts // Art and education. M .: LLC "International Center" Art and Education ". 2017. No. 4. P. 14 – 28.
Erofeeva M. A. General foundations of pedagogy: lecture notes. M.: Higher education, 2006. 188 p.
Volkov N. N. Composition in painting. Moscow: Art, 1977. 143 p.
Koffka K. Principles of Gestalt psychology. N.Y., 1935.
Wertheimer M. Productive thinking / Per. from English. Tot. ed. S. F. Gorbov and V. P. Zinchenko. Intro. Art. V. P. Zinchenko. M.: Progress, 1987. 336 p.
Arnheim R. Art and visual perception / Per. from English. V. L Samokhina; under total ed. V. P. Shestakova M.: Progress, 1974. 392 p.
Chuvashov A.S. Stages of work on visualization. // visual images modern culture: traditions and innovations in the culture of the metropolis: a collection of scientific articles on materials III All-Russian Scientific and Practical Conference with International Participation, April 10-11, 2014 / Editorial Board: P.L. Zaitsev and others - Omsk: Golden circulation, 2014. S. 178 - 183.

Federal Agency for Education

State educational institution

higher vocational education

Department of Design and Artistic Processing of Materials

"Composition Theory"

Introduction

1.1 Integrity

2. Types of composition

2.1 Closed composition

2.2 Open composition

2.3 Symmetrical composition

2.4 Asymmetrical composition

2.5 Static composition

2.6 Dynamic composition

3. Forms of composition

3.4 Volume composition

4.1 Grouping

4.2 Overlay and inset

4.3 Division

4.4 Format

4.5 Scale and proportion

4.6 Rhythm and meter

4.7 Contrast and nuance

4.8 Color

4.9 Compositional axes

4.10 Symmetry

4.11 Texture and texture

4.12 Styling

5. Aesthetic aspect of formal composition

6. Style and stylistic unity

7. Associative composition

Bibliographic list

Introduction

Paintings with two or more compositional centers are used by artists to show several events occurring simultaneously and equal in their significance.

In one picture, several methods of highlighting the main one can be used at once.

For example, using the technique of "isolation" - depicting the main thing in isolation from other objects, highlighting it in size and color - one can achieve the construction of an original composition.

It is important that all techniques for highlighting plot- composition center would be applied not formally, but to reveal in the best possible way the artist's intention and the content of the work.

1. Formal features of the composition

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

A random combination of colors folded the axis into a composition that was not planned in advance, but arose by itself. So, after all, there is a purely formal correlation of elements, in this case colors that produce a sense of order. You can call it the laws of composition, but in relation to art I don’t want to use this harsh word “law”, which does not allow the free action of the artist. Therefore, we will call these correlations signs of composition. there are many of them, but of all the signs, one can single out the most essential, absolutely necessary in any organized form.

So, the three main formal features of the composition:

integrity;

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

equilibrium.

1.1 Integrity

If an image or an object is entirely covered by the gaze as a whole, clearly does not break up into separate independent parts, then integrity is evident as the first sign of composition. Integrity cannot be understood as necessarily a soldered monolith; this feeling is more complicated, there may be gaps, gaps between the elements of the composition, but still the attraction of the elements to each other, their interpenetration visually distinguish the image or object from the surrounding space. Integrity can be in the layout of the picture in relation to the frame, it can be like a coloristic spot of the whole picture in relation to the wall field, or maybe inside the image so that the object or figure does not fall apart into separate random spots.

Integrity is the internal unity of the composition.

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

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

1.3 Balance (static and dynamic)

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

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

Particular attention has to be paid to balance in dynamic compositions, where the artistic task lies precisely in the violation, destruction of equilibrium peace. Strange as it may seem, the most asymmetrical, outward-looking composition in works of art is always carefully balanced. A simple operation allows you to verify this: it is enough to cover part of the picture - and the composition of the remaining part will fall apart, become fragmentary, unfinished.

composition picture formal

2. Types of composition

2.1 Closed composition

An image with a closed composition fits into the frame in such a way that it does not tend to the edges, but, as it were, closes on itself. The viewer's gaze moves from the focus of the composition to the peripheral elements, returns through other peripheral elements again to the focus, that is, it strives from any place in the composition to its center.

A distinctive feature of a closed composition is the presence of fields. In this case, the integrity of the image is manifested in the literal sense - against any background, the compositional spot has clear boundaries, all compositional elements are closely interconnected, plastically compact.

2.2 Open composition

The filling of the pictorial space with an open composition can be twofold. Either these are details that go beyond the frame, which are easy to imagine outside the picture, or it is a large open space into which the focus of the composition is immersed, giving rise to development, the movement of subordinate elements. In this case, there is no tightening of the gaze to the center of the composition; on the contrary, the gaze freely leaves the picture with some conjecture of the undepicted part.

An open composition is centrifugal, it tends to move forward or slide along a spirally expanding path. It can be quite complex, but it always ends up moving away from the center. Often the center of the composition itself is missing, or rather, the composition is made up of many equal mini-centers that fill the field of the image.

2.3 Symmetrical composition

The main feature of a symmetrical composition is balance. It holds the image so tightly that it is also the basis of integrity. Symmetry corresponds to one of the deepest laws of nature - the desire for stability. Building a symmetrical image is easy, you just need to determine the boundaries of the image and the axis of symmetry, then repeat the pattern in a mirror image. Symmetry is harmonious, but if any image is made symmetrical, then after a while we will be surrounded by prosperous, but monotonous works.

Artistic creativity goes so far beyond the framework of geometric correctness that in many cases it is necessary to deliberately break the symmetry in the composition, otherwise it is difficult to convey movement, change, contradiction. At the same time, symmetry, like an algebra that tests harmony, will always be a judge, a reminder of the original order, balance.

2.4 Asymmetrical composition

Asymmetric compositions do not contain an axis or a point of symmetry, the form creation in them is freer, but one cannot think that asymmetry removes the problem of balance. On the contrary, it is in asymmetric compositions that the authors pay attention to Special attention balance as an indispensable condition for the competent construction of the picture.

2.5 Static composition

Stable, motionless, often symmetrically balanced, compositions of this type are calm, silent, evoke the impression of self-affirmation, they carry not an illustrative description, not an event, but depth, philosophy.

2.6 Dynamic composition

Outwardly unstable, prone to movement, asymmetry, openness, this type of composition perfectly reflects our time with its cult of speed, pressure, kaleidoscopic life, thirst for novelty, with the swiftness of fashion, with clip thinking. Dynamics often exclude grandeur, solidity, classical completeness; but it would be a big mistake to consider simple negligence in work as dynamics, these are completely unequal concepts. Dynamic compositions are more complex and individual, so they require careful thought and virtuoso performance.

If we compare the above three pairs of compositions with each other and try to find the relationship between them, then with a little stretch we must admit that the first types in each pair are one family, and the second - another family. In other words, static compositions are almost always symmetrical and often closed, while dynamic compositions are asymmetrical and open. But this is not always the case, a rigid classification relationship between pairs is not visible, moreover, defining compositions according to other initial criteria, one has to create another series, which for convenience we will no longer call types, but composition forms, where the determining role is played by the appearance of the work .

3. Forms of composition

All disciplines of the projective cycle, from descriptive geometry to architectural design, give the concept of the elements that make up the shape of the surrounding world:

plane;

bulk surface;

space.

Using these concepts, it is easy to classify the forms of composition. It is only necessary to keep in mind that fine art does not operate with mathematical objects, therefore, a point as a geometric place in space that does not have dimensions, of course, cannot be a form of composition. For artists, a point can be a circle, a blot, and any compact spot concentrated around the center. The same remarks apply to lines, planes, and three-dimensional space.

Thus, the forms of composition, named in one way or another, are not definitions, but only approximately denoted as something geometric.

3.1 Point (centric) composition

a point composition always has a center; it can be a center of symmetry in the literal sense or a conditional center in an asymmetric composition, around which the compositional elements that make up the active spot are compactly and approximately equidistant. Point composition is always centripetal, even if its parts seem to scatter from the center, the focus of the composition automatically becomes the main element that organizes the image. The value of the center is most emphasized in the circular composition.

The point (centric) composition is characterized by the greatest integrity and balance, it is easy to build, and very convenient for mastering the first professional composing techniques. For point composition great importance has the format of the pictorial field. In many cases, the format directly dictates the specific shape and proportions of the image, or, conversely, the image defines a specific format.

3.2 Linear tape composition

In the theory of ornament, the arrangement of repeating elements along a straight or curved open line is called translational symmetry. In general, a tape composition does not necessarily have to be composed of repeating elements, but its general arrangement is usually elongated in some direction, suggesting an imaginary centerline around which the image is built. Linear tape composition is open and often dynamic. The format of the pictorial field allows for relative freedom, here the image and the field are not so rigidly tied to each other in terms of absolute dimensions, the main thing is the elongation of the format.

In the tape composition, the second of the three main features of the composition is often masked - the subordination of the secondary to the main one, therefore it is very important to identify the main element in it. If this is an ornament, then in the repeated elements, which break up into separate mini-images, the main element is also repeated. If the composition is simultaneous, then the main element is not masked.

3.3 Planar (frontal) composition

The name itself suggests that the entire plane of the sheet is filled with an image. Such a composition does not have axes and a center of symmetry, does not tend to become a compact spot, it does not have a pronounced single focus. The plane of the sheet (whole) and determines the integrity of the image. The frontal composition is often used in the creation of decorative works - carpets, murals, fabric ornaments, as well as in abstract and realistic painting, in stained-glass windows, mosaics. This composition gravitates towards an open type. A planar (frontal) composition should not be considered only one in which the visible volume of objects disappears and is replaced by flat color spots. A multifaceted realistic painting with the transmission of spatial and volumetric illusions, according to the formal classification, refers to the frontal composition.

3.4 Volume composition

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

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

The relief should be illuminated with a sliding, not a head light, but this is not enough, one must also take into account from which side the light should fall, since the appearance of the work completely changes from a change in the direction of the shadows.

3.5 Spatial composition

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

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

Spatial composition as a form is often confused with a picture that conveys the illusion of space. There is no real space in the picture, in form it is a planar (frontal) composition, in which the arrangement of color spots sequentially, as it were, removes objects from the viewer into the depth of the picture, but the image itself is constructed over the entire plane.

3.6 Combination of compositional forms

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

4. Techniques and means of composition

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

4.1 Grouping

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

4.2 Overlay and inset

According to the compositional action, this is a grouping that has stepped over the boundaries of figures.

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higher professional education

Department of Design and Artistic Processing of Materials

"Composition Theory"

Content

Introduction
1.1 Integrity
2. Types of composition
2.1 Closed composition
2.2 Open composition
2.3 Symmetrical composition
2.4 Asymmetrical composition
2.5 Static composition
2.6 Dynamic composition
3. Forms of composition
3.4 Volume composition
3.6 Combination compositionsiforms
4.1 Grouping
4.2 Overlay and inset
4.3 Division
4.4 Format
4.5 Scale and proportion
4.6 Rhythm and meter
4.7 Contrast and nuance
4.8 Color
4.9 Compositional axes
4.10 Symmetry
4.11 Texture and texture
4.12 Styling
6. Style and stylistic unity
7. Associative composition
Bibliographic list

Introduction

Paintings with two or more compositional centers are used by artists to show several events occurring simultaneously and equal in their significance.

In one picture, several methods of highlighting the main one can be used at once.

For example, using the technique of "isolation" - depicting the main thing in isolation from other objects, highlighting it in size and color - one can achieve the construction of an original composition.

It is important that all methods of highlighting the plot and compositional center be applied not formally, but to reveal in the best possible way the artist's intention and the content of the work.

1. Formal features of the composition

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

A random combination of colors folded the axis into a composition that was not planned in advance, but arose by itself. So, after all, there is a purely formal ratio of elements, in this case, colors, which produces a sense of order. You can call it the laws of composition, but in relation to art I don’t want to use this harsh word “law”, which does not allow the free action of the artist. Therefore, we will call these correlations signs of composition. there are many of them, but of all the signs, one can single out the most essential, absolutely necessary in any organized form.

So, the three main formal features of the composition:

integrity;

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

equilibrium.

1.1 Integrity

Integrity is the internal unity of the composition.

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

1.3 Balance (static and dynamic)

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

composition picture formal

2. Types of composition

2.1 Closed composition

An image with a closed composition fits into the frame in such a way that it does not tend to the edges, but, as it were, closes on itself. The viewer's gaze moves from the focus of the composition to the peripheral elements, returns through other peripheral elements again to the focus, that is, it strives from any place in the composition to its center.

A distinctive feature of a closed composition is the presence of fields. In this case, the integrity of the image is manifested in the literal sense - against any background, the compositional spot has clear boundaries, all compositional elements are closely interconnected, plastically compact.

2.2 Open composition

2.3 Symmetrical composition

Artistic creativity goes so far beyond the framework of geometric correctness that in many cases it is necessary to deliberately break the symmetry in the composition, otherwise it is difficult to convey movement, change, contradiction. At the same time, symmetry, like an algebra that tests harmony, will always be a judge, a reminder of the original order, balance.

2.4 Asymmetrical composition

Asymmetric compositions do not contain an axis or a point of symmetry, the form creation in them is freer, but one cannot think that asymmetry removes the problem of balance. On the contrary, it is in asymmetric compositions that the authors pay special attention to balance as an indispensable condition for the competent construction of a picture.

2.5 Static composition

Stable, motionless, often symmetrically balanced, compositions of this type are calm, silent, evoke the impression of self-affirmation, they carry not an illustrative description, not an event, but depth, philosophy.

2.6 Dynamic composition

3. Forms of composition

All disciplines of the projective cycle, from descriptive geometry to architectural design, give the concept of the elements that make up the shape of the surrounding world:

dot;

line;

plane;

bulk surface;

space.

Thus, the forms of composition, named in one way or another, are not definitions, but only approximately denoted as something geometric.

3.1 Point (centric) composition

The point (centric) composition is characterized by the greatest integrity and balance, it is easy to build, and very convenient for mastering the first professional composing techniques. For point composition, the format of the pictorial field is of great importance. In many cases, the format directly dictates the specific shape and proportions of the image, or, conversely, the image defines a specific format.

3.2 Linear tape composition

3.3 Planar (frontal) composition

The name itself suggests that the entire plane of the sheet is filled with an image. Such a composition does not have axes and a center of symmetry, does not tend to become a compact spot, it does not have a pronounced single focus. The plane of the sheet (whole) and determines the integrity of the image. The frontal composition is often used in the creation of decorative works - carpets, murals, fabric ornaments, as well as in abstract and realistic painting, in stained-glass windows, mosaics. This composition gravitates towards an open type. A planar (frontal) composition should not be considered only one in which the visible volume of objects disappears and is replaced by flat color spots. A multifaceted realistic painting with the transmission of spatial and volumetric illusions, according to the formal classification, refers to the frontal composition.

3.4 Volume composition

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

The relief should be illuminated with a sliding, not a head light, but this is not enough, one must also take into account from which side the light should fall, since the appearance of the work completely changes from a change in the direction of the shadows.

The volumetric composition is created by the author, and completes its illumination.

3.5 Spatial composition

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

Spatial composition as a form is often confused with a picture that conveys the illusion of space. There is no real space in the picture, in form it is a planar (frontal) composition, in which the arrangement of color spots sequentially, as it were, removes objects from the viewer into the depth of the picture, but the image itself is constructed over the entire plane.

3.6 Combination of compositional forms

4. Techniques and means of composition

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

4.1 Grouping

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

4.2 Overlay and inset

According to the compositional action, this is a grouping that has stepped over the boundaries of figures. The placement of elements or their fragments one under the other, the partial overlap of silhouettes are a model of the compositional scheme of the picture when transferring near, far and medium stuffy perspectives. This technique looks especially impressive when a change in color, contrast and scale is used simultaneously with the removal of plans.

4.3 Division

The sculpture has two practical method work. According to the first method, clay is applied in parts to the frame and gradually builds up to the desired shape. According to the second method, approximately the total mass of the figure is taken and then all excess clay is removed, the form is, as it were, freed from unnecessary masses. Something similar happens at the birth of a composition.

Grouping and overlaying are similar to the first sculpt method, and division is similar to the second method, that is, the division technique extracts a detailed compositional structure from a large monotonous surface.

Articulation is a secondary technique, it is, in general, the reverse side of the grouping and deals with the already existing compositional basis, giving rhythmic expressiveness to the work. A typical example of constructing a composition with the help of segmentation is Filonov's paintings. In them, each figurative element of the composition is divided into a number of color spots, which gives the work a special originality, and from the point of view of the composition, the picture is perceived primarily as a combination of these color cells, and only then - as an image of figures and objects. The technique of division is widely used in architecture from ancient orders and Gothic temples to constructivism of the twentieth century.

Regardless of the specific artistic tasks, genres, manners, images, moral premises, the artist uses only a few formal techniques when creating a composition. An infinitely wide range of specific results is provided by those means, those tools of composition, which, while remaining formal, are already bearers of aesthetic categories, corresponding to our sensory perception of the world. This is rhythm, and contrast, and color, and a sense of proportion, and other manifestations of our awareness of order in nature.

It is absolutely impossible to give preference to any of the means of composition, to accept their unequalness, therefore, in this work, the sequence of their consideration is pure chance. True, one of the means can be put first in order. Composition, as a rule, begins with the choice of a certain format - this will be the first means of composition.

4.4 Format

the vast majority of paintings are rectangular. Three possible formats follow from this: vertical, horizontal, square. Such forms of compositions as a center one will most likely require a square field, a linear-tape, actively elongated format, a front-plane, depending on the specific task, can fit into any format. Panoramic landscape or portrait. - . a multi-figured painting or an ornamental painting - each of the compositions requires its own format, and not only the aspect ratio, but also the absolute size of the format is essential. Graphic artists have empirically derived the following law: the smaller the composition, the relatively large fields of work should be. Bookplates, trademarks, emblems, any similar graphemes look good on sheets in which the margins are much larger than the image itself. For a composition the size of a Whatman sheet, the margins should be very small (3-5 cm).

The format, if it is set in advance, directly becomes one of the means of composition, because the aspect ratio and the absolute size of the sheet immediately determine the possible forms of the composition, the degree of its detail, give, as it were, an embryo compositional idea. In addition to the rectangular format, it can be oval, round, polygonal, and generally anything, depending on this, the compositional tasks also change.

4.5 Scale and proportion

We touched on the issue of scale in the previous paragraph. As a means of composition, scale works, so to speak, strategically. It is enough to compare a graphic work and a monumentally decorative work to understand how the scale affects the form of the composition.

The formal aspect of the graphic work is the filigree of all its elements, as it is viewed from close up. A monumental composition certainly has great generality, a certain rigidity of form, and simplification of details. With an increase in scale, the requirements for balance and integrity of the composition increase.

If we consider the scale within the composition, then the ratio between the elements is regulated by proportion. widely known golden ratio, that is, such a proportional relationship between the elements, when the whole is related to the greater part, as the greater part is related to the smaller, is perceived as harmonious not only in sensation, but also logically. Generally speaking, scale proportionality as a means of composition is used almost constantly, in any ordering of figures or objects. Not every size ratio is consistent with each other, so the internal scale and proportion are a very subtle means of composition based on intuition. Scale and proportion are the main means of conveying perspective - the reduction of elements in the depth of the picture creates a sense of space.

4.6 Rhythm and meter

Rhythm, by definition, is a uniform alternation of elements. Since we are talking about composition, it is especially necessary to note the uniformity of alternation. Uniformity is the simplest, march-like form of rhythm. In the composition, the uniform alternation of elements is determined by the word "meter" (hence the metronome). The most primitive, indifferent and cold meter is when the sizes of elements and the sizes of gaps are the same. The expressiveness and, accordingly, the complexity of the rhythm increase if the intervals between elements are constantly changing.

In this case, the options are:

the alternation of elements naturally accelerates or slows down;

the distances between the elements are not of a naturally regular nature, but are stretched or

narrow down without an explicit metric.

The second option has more possibilities, although it is more difficult to build - this makes the composition internally tense, with more mystery.

Rhythm as a means of composition is often used in combination with proportion: then the elements not only alternate, but also change in size in accordance with some pattern (ornament) or freely.

4.7 Contrast and nuance

Generally speaking, contrast is a close relative of rhythm. The neighborhood of elements that differ sharply from each other (in area, color, chiaroscuro, shape, etc.) is similar to rhythmic alternation, only syncopated, knocked down from a direct count. Contrast gives the composition expressive power, with the help of contrast it is easy to highlight the main elements, the contrast expands the dynamic range of the composition. However, in too sharp contrasts there is a danger of violating the integrity of the composition: therefore, an alternative means is a nuance - a calmed, leveled contrast. Nuance, creating integrity, at some point may leave nothing of contrast, turn the composition into sluggish monotony. Everything needs a sense of proportion. Recall that in ancient Greece this was considered an indicator of the mental development of a person.

4.8 Color

The three standard qualities of color - tone (color itself), saturation and lightness - are closely related to an unusual, but very important characteristic for composition - brightness. It is the brightness that visually highlights the object, plays the role of contrast. When the composition is built mainly in color, integrity is achieved by bringing the spots together in lightness, then the difference in tones and saturation can remain significant. If the harmony of the composition is built in monochrome or close tones, then it is also desirable to reduce the difference in lightness. this situation is very similar to such means of composition as contrast or nuance. Often the property of color is used to create the illusion of an object approaching or moving away: saturated warm tones seem to bring them closer, and cold, low-saturated tones move them away. Thus, only with the help of color can space be conveyed. Color as a means of composition is present in literally every image, regardless of its compositional tasks and forms. The omnipresence of color gives it the right to be considered a universal and necessary (that is, color cannot be bypassed) means of composition.

4.9 Compositional axes

We are talking not only about the axes of symmetry in tape compositions, which are just a special case of compositional axes, but to a greater extent about those directions in the development of the composition that lead the viewer's eye, creating the impression of movement or rest. These axes can be vertical, horizontal, diagonal, and so-called perspective (leading into the depth of the picture). Vertical orientation gives solemnity, striving for the spirit, horizontality, as it were, demonstrates unhurried movement to the viewer, diagonality is the most dynamic;

it emphasizes development. A special place is occupied by perspective axes. On the one hand, they correspond to the natural property of the eye apparatus, which perceives objects converging to a point with a distance from the viewer to infinity, and on the other hand, they draw the eye into the depth of the picture, make the viewer a participant in the event. In interaction with other means of composition, the axes often act in combination with each other, forming cruciform, multi-pass, complex connections.

4.10 Symmetry

There is a French proverb: if you don't know how to lie, tell the truth. Artists, by analogy with this proverb, have a rule: if you don’t know how to build a composition, make symmetry. As a means of composition, symmetry has no equal in efficiency and simplicity, because it is initially balanced and holistic, moreover, it does not require any special creative efforts: it is enough to mirror one in the other - and the composition is ready. It is another matter whether this means is appropriate in a particular work, but formally it is a win-win.

4.11 Texture and texture

Texture is the nature of the surface: smoothness, roughness, relief. Textured indicators carry certain features of a compositional tool, although not as clearly and not as categorically as, say, rhythm and color. The artist completes the composition with the texture of the surface.

The invoice is widely used by sculptors, architects, designers. In painting, she plays, if not auxiliary, then not the most leading role, but sometimes acts as an equal means artistic composition, as, for example, in the paintings of Van Gogh. Texture is rarely used in graphics, where a close relative of texture plays a much larger role - the so-called texture, that is, visible pattern surfaces (texture of wood, fabric, marble, etc.). Texture has a truly limitless variety, in many cases it is the texture that creates the aesthetic feature of the work.

4.12 Styling

This means of composition is mainly associated with the decorative arts, where the rhythmic organization of the whole is very important. Stylization - generalization and simplification of the depicted figures in terms of pattern and color, bringing the figures into a form convenient for ornamentation. The second hypostasis of stylized forms is a means of design, monumental art. Finally, stylization is used in easel art to enhance decorativeness.

Stylization is especially widely used when creating a floral ornament. Natural forms drawn from life are too overloaded with insignificant details, random plasticity, an abundance of color nuances. Field sketches - the source material for stylization. While stylizing, the artist reveals the decorative pattern of forms, rejects accidents, simplifies details, and finds the rhythmic basis of the image. The stylized form easily fits into any kind of symmetrical transformations, it has the stability of a monad in the most complex interweaving of elements.

5. Aesthetic aspect of formal composition

The abstract painting of W. Kandinsky, the Suprematism of K. Malevich, the rectangularity of Mondrian, in fact, are works built as pure water formal composition. They contain great emotional power not by descriptiveness, not by objectivity, but by the mutual arrangement and shape of color spots. Another thing cannot be denied: the means of formal composition have been used by artists from time immemorial, and art historians have long used the same terms that we use. Intuitively, artists understood the aesthetic side of the formal composition even in the period of distant classics, so when Kandinsky came up with a crazy idea about the optional

the subject basis of the picture, this was the axis of the logical conclusion of the truth soaring in the air that without those signs and means of composition that we talked about here, there can be no work of art. Kandinsky decided to do what others had not dared to do before him - to preserve all the formal features of the composition and remove literature, the story from the picture. And seemingly empty, about nothing and no one, the picture turned out to be very viable. Realists accepted Kandinsky's act with great resistance, and although there are serious grounds for this resistance, it is already clear to many: abstraction carries a certain emotional energy.

The author is by no means going to make his own judgments and assessments of the artistic process, our task is simpler - to sing the praises of a formal composition, to emphasize its effective effectiveness.

The conditional division of the forms and means of composition into constituent elements, we hope, will not interfere with preserving the freshness of perception, will not destroy the joyful admiration for the beauty of the real world, will not replace the cordial community with nature with dry analysis. Formal composition is just notes, individual sounds and chords, at best, pieces for practice. The melody is yet to come.

6. Style and stylistic unity

This refers to the individual style, within the same composition. The stable features of the image of elements and their relationship constitute a stylistic unity. It would seem that in a formal composition this problem should not arise at all, but after all, a formal composition easily turns into an ornament, moreover, the ornament itself is, in fact, one of the forms of abstract composition. Stylistic unity becomes a necessary condition for aesthetic perception; Strictly speaking, in any finished image, regardless of its purpose and type, due to the fact that a person lives in a certain era, is surrounded by objects with specific artistic features, a set of systemic psychological stamps, a person has a sense of style inherent in the subconscious.

7. Associative composition

Association - a psychological connection of ideas about various objects and phenomena developed by life experience. In fact, each object evokes some association, each form expresses a certain character (Eskimo - snow, north; night sky - infinity; panther - grace and deceit). A very simple association with the word "carnival". This bright colors, dynamics, fiery flashes, contrasts.

And if we take more subtle connections, for example, the sounds of the violin, Mayakovsky's poems, then we will enter that section of the composition that will require an additional thought process, pure creativity, going beyond technical skill. Creativity is an almost uncontrollable process; if versification can be learned, then poetry cannot be learned. But still.

Let's try to reduce the problem a little, to ground the problem, maybe then our reasoning will be able to bring tangible benefits. Let us turn to those forms and means of composition that are most closely related to the outside of the image, that is, they are material in themselves: color, contrast, symmetry, texture, etc. These means are actively associated with objects and abstract concepts, are easily applicable and, most importantly, are easily put into words. Let's list at random a few concepts that are completely unrelated to each other, just the first that came to mind:

emotion;

a country;

writer;

music;

Each of the concepts can be specified, made the name of the composition. EMOTION: Fear, Sadness, Joy, Tenderness.

Bibliographic list

1. Baukova, T.K. Composition in painting [Text]: / T.K. Baukov. - M: Progress, 2006. - 176 p.

2. Vipper, V.R. Articles about art [Text]: / V.R. Whipper. - M: Academy, 1992. - 227 p.

3. Volkov, N.N. Composition in painting [Text]: / N.N. Volkov. - M: Art, 1988. - 116 p.

4. Gerchuk, Yu.Ya. Language and meaning of fine arts [Text] / Yu.Ya. Gerchuk. - M: RIO. - 1994. - p.245.

5. Kipnik, D.I. Painting technique [Text] / D.I. Kipnik. - M: Science. - 1950. - p.158.

6. Lipatov, V.I. Colors of time [Text]: / V.I. Lipatov. - M: Enlightenment, 1983. - 165 p.

7. Popular Art Encyclopedia: Architecture. Painting. Sculpture. Graphic arts. decorative arts[Text]: / edited by V.M. Field. - M: Soviet Encyclopedia, 1986. - 447 p.

8. Tribis, E.E. Painting. What should you know about her? modern man[Text] / E.E. Tribis. - M: RIPOL CLASSIC, 2003. - 384 p.

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Introduction

Paintings with two or more compositional centers are used by artists to show several events occurring simultaneously and equal in their significance.

In one picture, several methods of highlighting the main one can be used at once.

For example, using the technique of "isolation" - depicting the main thing in isolation from other objects, highlighting it in size and color - one can achieve the construction of an original composition.

It is important that all methods of highlighting the plot and compositional center be applied not formally, but to reveal in the best possible way the artist's intention and the content of the work.

1. Formal features of the composition

So, the three main formal features of the composition:

integrity;

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

equilibrium.

1.1 Integrity

Integrity is the internal unity of the composition.

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

1.3 Balance (static and dynamic)

2. Types of composition

2.1 Closed composition

A distinctive feature of a closed composition is the presence of fields. In this case, the integrity of the image is manifested in the literal sense - against any background, the compositional spot has clear boundaries, all compositional elements are closely interconnected, plastically compact.

2.2 Open composition

2.3 Symmetrical composition

2.4 Asymmetrical composition

2.5 Static composition

Stable, motionless, often symmetrically balanced, compositions of this type are calm, silent, evoke the impression of self-affirmation, they carry not an illustrative description, not an event, but depth, philosophy.

2.6 Dynamic composition

3. Forms of composition

All disciplines of the projective cycle, from descriptive geometry to architectural design, give the concept of the elements that make up the shape of the surrounding world:

dot;

line;

plane;

bulk surface;

space.

Thus, the forms of composition, named in one way or another, are not definitions, but only approximately denoted as something geometric.

3.1 Point (centric) composition

3.2 Linear tape composition

3.3 Planar (frontal) composition

3.4 Volume composition

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

The relief should be illuminated with a sliding, not a head light, but this is not enough, one must also take into account from which side the light should fall, since the appearance of the work completely changes from a change in the direction of the shadows.

The volumetric composition is created by the author, and completes its illumination.

3.5 Spatial composition

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

3.6 Combination of compositional forms

4. Techniques and means of composition

4.1 Grouping

4.2 Overlay and inset

4.3 Division

Grouping and overlaying are similar to the first sculpt method, and division is similar to the second method, that is, the division technique extracts a detailed compositional structure from a large monotonous surface.

4.4 Format

4.5 Scale and proportion

We touched on the issue of scale in the previous paragraph. As a means of composition, scale works, so to speak, strategically. It is enough to compare a graphic work and a monumentally decorative work to understand how the scale affects the form of the composition.

4.6 Rhythm and meter

In this case, the options are:

the alternation of elements naturally accelerates or slows down;

the distances between the elements are not of a naturally regular nature, but are stretched or

narrow down without an explicit metric.

The second option has more possibilities, although it is more difficult to build - this makes the composition internally tense, with more mystery.

Rhythm as a means of composition is often used in combination with proportion: then the elements not only alternate, but also change in size in accordance with some pattern (ornament) or freely.

4.7 Contrast and nuance

4.8 Color

4.9 Compositional axes

4.10 Symmetry

4.11 Texture and texture

Texture is the nature of the surface: smoothness, roughness, relief. Textured indicators carry certain features of a compositional tool, although not as clearly and not as categorically as, say, rhythm and color. The artist completes the composition with the texture of the surface.

4.12 Styling

5. Aesthetic aspect of formal composition

The author is by no means going to make his own judgments and assessments of the artistic process, our task is simpler - to sing the praises of a formal composition, to emphasize its effective effectiveness.

6. Style and stylistic unity

7. Associative composition

emotion;

a country;

writer;

music;

Each of the concepts can be specified, made the name of the composition. EMOTION: Fear, Sadness, Joy, Tenderness.

Bibliographic list

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