Composition - Translated from Latin, the word "composition" (compositio) means composing, combining, adding, composing, connecting parts and putting them in order. At the same time, the composition is often viewed as a holistic, artistically significant work created by a person. The composition is also defined as a purposefully organized form, the main quality of which is harmonious integrity.

Composition - If nothing can be added or added to the designed product, then it can be attributed to the ideal composition. The main meaning of the term "Composition" as a creative process is finding the unity and balanced interaction of the parts that make up the whole. The quality of the composition is determined by the harmony and the degree of its expressiveness. Harmony (balance) is a harmonious consistency of parts of one whole. Expressiveness is an external manifestation of a vivid property, feeling or thought. The general expressiveness of the designed product is influenced by such properties of the composition as proportion, symmetry and asymmetry, meter and rhythm, contrast and nuance, texture, texture, color, scale, etc.

It should be remembered that all parts of the composition, their structure and relationships are subordinate to a common idea and are united by a common meaning.

Types of composition Plane - a composition consisting of elements that do not protrude above the plane. Its elements are arranged in two directions: vertical and horizontal.

Types of composition Frontal - a composition providing for the arrangement of relief details on one plane. It develops in three directions.

Types of composition A volumetric composition is a composition of interconnected objects located at different levels and planes and designed for perception from all sides. Its expressiveness depends on the angle of view.

Types of composition Deep-space - a composition that creates a connection between objects and the space in which they are located. Can be viewed from all sides, elements are located in different planes.

The compositional principles are based on the objective laws of nature and the laws of social development. The first to explain our physical existence, orientation in space, physical reactions to the impact of the environment, biological needs. The second determines human psychology, social consciousness. The dialectical development inherent in matter is reflected in the products of human spiritual activity, in particular, in art. The laws of dialectics are directly manifested in the compositional construction of works of art. The very concept of "composition", meaning connection, comparison, already implies the presence of opposite principles.

Composition - The fundamental physical laws of nature are reflected in the compositional construction. One of the fundamental laws of nature, which plays an important role in the formation of organic and inorganic matter, as well as manifests itself in all areas of human activity, is the law of gravity. It manifests itself in everything, starting with the location and movement of the planets, and ending with the structure of the insect's body. The law of gravity, i.e. universal gravitation, explains, for example, the symmetry, the structure of living organisms (the need for balance), substantiates the laws of motion (laws of mechanics) and the laws of celestial mechanics. In art, the law of gravity determines the role of the vertical, horizontal and diagonal in a composition, it explains the need for balance, the meaning of symmetrical forms, the concept of top and bottom in a painting, etc.

Composition - Another law that has the same universal significance is the law (laws) of the propagation of light in nature, the law of optics. Thanks to the structure of the brain and organs of perception, we perceive light, distinguish colors, shapes of objects and perceive them spatially. The laws of optics and the structure of our visual apparatus determine our perception of space and the resulting discovery of the laws of perspective, an important compositional means. Visual perception, combined with the ability to touch, allows you to perceive forms as volumetric-spatial structures, which is also reflected in art, in the modeling of volumetric-spatial forms. It can be assumed that such laws of physics and chemistry as the law of conservation of mass, the law of equivalents, the law of constancy of proportions are reflected in one form or another in art, in particular in compositional construction.

Composition - In nature, there is a "law of economy" according to which nature always "looks for the shortest paths and chooses economical solutions (as a result of the process of evolution, natural selection). This law manifests itself in the structure of biological forms of the macrocosm and microcosm. The study of these forms has shown an amazing relationship and repetition in them of the same simple forms, which in various combinations are repeated in a huge variety of complex forms.

Composition - Spiral (the ability to store information, conserved energy) Ball (the most economical shape - the smallest surface with the largest volume) Polyhedrons (in nature, the honeycomb shape economically fill space) Pipe (transport channel for transfer nutrients, blood) Tree (in the structure of the circulatory system, organization of information objects) Star (tree, when viewed from above) Rays diverge from the center, deliver food, sun. energy to the center. If you bring live org. shapes to geometric, we get: ball, cone, cylinder, polyhedra.

Composition - The basis of any picture is a diagram of simple geometric shapes... What for? Yes, because the human eye needs to move along the plane of the picture, and the scheme gives it a digestible route, such that the viewer's eye can reveal and see what is needed, while the eye does not get bored of wandering along one line and so that the viewer does not pull the viewer away from the picture. Great painters and masters, painting their works, carefully approached the issue of composition, and made sure that the viewer was comfortable and pleasant to view their work. As an example, I will give some works, I will show their schemes and the route of vision. As you can see, the composition of any work is based on simple geometric shapes - triangles, circles, squares.

Francisco Goya "Mahi on the balcony"

The laws of composition The law of unity and integrity. In all definitions of the composition, its main feature is constantly present - the integrity of the form. The integrity of the composition and the unity of its elements are manifested in such a quality as harmony. The repetition of a whole in its parts serves the purpose of combining parts into a whole on the basis of similarity. A harmonious object is characterized by the presence of a leading, repeated feature. Such a sign can serve, for example, the predominance of right angles or the repetition of the nature of curvature, etc. The subordination of parts as a whole serves to unite parts based on the characteristics of the main and the secondary. The main thing can be highlighted by its greater size, mass or location relative to other elements, shape, color, texture, etc. The proportionality of parts and the whole serves to reconcile parts as a whole on the basis of proportional or other types of ratios. The law of the chief as a whole shows what the parts of the whole are united around. The balance of the parts as a whole serves to coordinate the forces involved in the work of the whole - attraction, repulsion, etc.

The law of unity and integrity This means that your drawing should be perceived as a whole, regardless of the number of objects depicted on it. The location of the objects is very important here. Each of them makes its own impression on a person, and if they are not streamlined, the drawing will be chaotic, annoying and reduce the overall effect of the drawing. All elements should be connected by semantic and spatial arrangement, the composition should be varied, but not colorful.

The Law of Unity and Integrity Dutch still lifes have always been distinguished by a large number of depicted objects, painted with photographic care. And, nevertheless, the artists skillfully combined the work with color and tone into one whole.

Means of harmonizing composition Objective, inherent in the nature of the phenomenon - symmetry, asymmetry, proportionality, contrast, rhythm - perceived by human consciousness, mastered by experience and understood as a category of harmony, - are used in the process artistic creation as a means of creating an art form. With the help of these means, the content is revealed and the form is harmonized. In the specialized literature, they are usually called means of harmonization or compositional means.

The means of harmonization can be conditionally divided into several groups, based on what kind of relationship between the elements of the whole they represent. Group 1 symmetry and asymmetry is characterized by the location of the elements relative to the axis or center of rotation. Thanks to symmetry, the right and left parts of the pictorial whole are fixed, the center and the imaginary axis are accentuated. Symmetry implies equivalence, equal size. Due to symmetry, the composition acquires stability and balance. Symmetry means kinship, similarity, but it can also serve as a means of opposition (symmetrical image, contrasting in tone or color; opposition of two contrasting figures) in psychological terms. Symmetry makes the image look static. Asymmetry breaks it, but retains the orientation relative to the axis, although it deviates from it. Asymmetry is dynamic.

The means of harmonization can be conditionally divided into several groups, based on what kind of relationship between the elements of the whole they represent. Group 2 identity, proportions, modulus, scale is characterized by dimensional relationships between parts of the whole and between parts and the whole. Thanks to them, the parts of the whole are commensurable with each other and with the whole: identity - repetition, absolute equality; modulus of repetition of one value in another integer number of times; the scale indicates the correlation of sizes - an increase or decrease in a certain number of times of one size relative to another and the relative ratio of objects (for example, a thing and a person); proportions indicate the relationship between sizes. Parts, elements of an artistic whole, interconnected by proportional relationships, by a single module or scale, acquire proportionality and thereby harmonize the form.

The means of harmonization can be conditionally divided into several groups, based on what kind of relationship between the elements of the whole they represent. Group 3 nuance and contrast indicates the degree of difference and the nature of the difference between the parts and elements of the work. Nuance relationships, similar in shape, tone, color, texture, volume, size, etc., enrich the form with a play of shades and details. Contrasting relations, opposing the main elements that characterize the form, are the driving stimulus for the development of the form. Nuance and contrast complement and enrich the friend: contrast emphasizes the nuance, reveals his play; the nuance softens, complements the contrast. Nuance can also serve as an independent means of expression, when a work of art is entirely built on nuance relationships, close tones or in one color scheme. Contrast is primarily manifested in the collision of an object and space, volume and plane, and then in the relationship between objects, spots, lines - in size, shape, color, in the direction of movement and other manifestations of form elements.

The means of harmonization can be conditionally divided into several groups, based on what kind of relationship between the elements of the whole they represent. 4 group meter and rhythm characterizes the movement. Meter is the simplest repetition of the same element ( brickwork). Meter and rhythm are basically symmetrical. But the rhythm, unlike the meter, is based on the alternation of different, but repeating elements. As it becomes more complex, it breaks with symmetry, (for example, the complex rhythm of a painting), accompanying the willful drawing of movement, changing its character, tempo, direction. The rhythm can also have a regular character (for example, in an ornament). But he always introduces an organizing principle into chaotic movement and without him harmony is unthinkable.

The heterogeneity of the visual field and compositional schemes. Fields and compositional schemes. We call a `` visual field '' a limited surface, a plane where an image or a painting is located. This field can be a sheet of paper or canvas of a certain size and format, or wall space, or the surface of a volumetric object (packaging). A characteristic feature of the pictorial field is that it is not neutral in relation to the one depicted on it, but has a certain effect on it, since not all points of this field are equal. The image depends on the size, aspect ratio, field shape and on environment... The inequality of the field arises from the peculiarities of our visual perception. As a result, some parts of the field are in the zone of active perception, others are outside it.

If you imagine the field in the form of a regular geometric figure, then it is easy to find these active points. For example: In a rectangle, the most active points are those that lie on the central axis and the horizontal line that intersects it in the optical center: points that lie on the diagonals, points that indicate the proportions of the golden section; points lying on the borders of an oval that fits into this rectangle.

If you imagine the field in the form of a regular geometric figure, then it is easy to find these active points. For example: In a square - points lying on the diagonals; points lying at the intersection of diagonals with a circle inscribed in a square; the point of intersection of the diagonals.

If you imagine the field in the form of a regular geometric figure, then it is easy to find these active points. For example: In a circle - the center of the circle and points around it and slightly above the geometric center; points lying on the sides of a pentagon inscribed in a circle and on its diagonals.

If you imagine the field in the form of a regular geometric figure, then it is easy to find these active points. For example: In a triangle - in the zone of intersection of heights of bisectors and medians. Thus, the geometric figure itself already contains "active points" on which attention is concentrated, and therefore it is clear that the composition cannot ignore the impact of these points, due to the specifics of visual perception.

It is known that our gaze, moving inside a field not yet filled with an image, makes a series of movements, sliding along imaginary curves and straight lines. This movement cannot be called chaotic, since it has a certain direction, primarily dependent on the geometric shape of the field. In a vertically elongated rectangle, the most characteristic movement is S-shaped. A circle is characterized by movement along a circle. Many figures are characterized by horizontal and vertical movement that makes up a cross. The masters of the Renaissance and subsequent eras - Raphael, Poussin, Delacroix, Surikov - attached great importance to compositional construction, recognizing the role of compositional schemes, "main lines", "active points", consciously considering their impact in their works.

The active zones and lines of force of the field give tension to the field, due to which the elements of the image, coinciding with different points of the visual field, experience different states. A pictorial element coinciding with the center of a circle or with the visual center of a rectangle takes a firm position and does not seek to change its location. Elements that have fallen into the inactive zone of the field, on the contrary, tend to leave it, to find balance. Echoing with other elements that are also in an unbalanced state, or grouping around balanced ones, they, with the help of rhythm and other means of harmonization, come to a state of dynamic balance.

In works of art, we often observe that the main nodal moments of the composition coincide in their location with the active points of the visual field. However, too consistent application of this technique leads to the rigidity and uniformity of the composition, to the self-sufficient influence of the scheme. Therefore, in search of new compositional possibilities, artists are looking for such relationships between the elements of the composition and the "active points" of the field, which would make it possible to achieve balance in the composition without, it would seem, obligatory coincidence with the active points. This is possible thanks to the same means of harmonization. For example, instead of positioning main element in the center or on the axis of symmetry, elements balancing each other are placed on opposite sides of the axis, highlighting the main one with the help of contrasting color or tone ratios or other techniques.

Symmetry is based on similarity. It means such a relationship between elements, figures, when they repeat and balance each other. In mathematics, symmetry means the alignment of parts of a shape when you move it around an axis or center of symmetry. There are different kinds of symmetry. The simplest view mirror (axial) symmetry, arising from the rotation of the figure around the axis of symmetry. Symmetry that occurs when a figure rotates around the center of rotation is called central. The sphere has the highest degree of symmetry, since an infinite set of axes and planes of symmetry intersect at its center. Absolute, rigid symmetry is characteristic of inanimate nature - crystals (minerals, snowflakes). For organic nature, for living organisms, incomplete symmetry (quasi-symmetry) is characteristic, (for example, in the structure of a person).

Symmetry Symmetry breaking, asymmetry (lack of symmetry) is used in art as artistic medium... A slight deviation from the correct symmetry, that is, some asymmetry, disturbing the balance, attracts attention, introduces an element of movement and creates the impression of a living form. Different kinds symmetries have different effects on the aesthetic feeling: mirror symmetry - balance, peace; helical symmetry creates a sense of movement. Hzmbidge classifies all simple geometric shapes as static symmetry (dividing all types of symmetry into static and dynamic), and refers to the spiral as dynamic symmetry. Static symmetry is often based on a pentagon (cut of a flower or fruit) or a square (in minerals). In art, strict mathematical symmetry is rarely used.

Rhythm is a uniform alternation of dimensional elements, the order of combination of lines, volumes, planes. However, rhythm is characteristic not only of movement, but also of a static object. For example, in architectural structures, the rhythmic distribution of windows vertically and horizontally. The rhythm can also be observed in a plane image: ornament on wallpaper, on carpets, on fabrics. We can observe a particularly vivid manifestation of rhythm in an animal and flora... The simplest manifestation of rhythm with a characteristic repetition in the composition of the same forms at equal intervals can be observed in the arrangement of the columns of ancient temples, in the even arrangement of similar machines in the workshop, in the arrangement of buttons on devices, etc.

Rhythm The organizing role of rhythm in the composition is the more active, the stronger manifestation this pattern. The rhythm can be weakly expressed, when changes in alternations or the elements themselves are barely noticeable, but it can also be so strong, powerful that it becomes the leading beginning of the composition. The color rhythm is widely used, in particular in production: the color of premises, equipment, workplaces, workwear, communications. The rhythm of color creates a distinctive color climate. The metric order is characterized by the equality of elements located at equal distances from each other, as, say, rows of windows of residential buildings, similar ribbons encircling floors, bridge spans, etc. Given the possibility of combining the metric and rhythmic order, three main rhythmic categories can be outlined: metric order, rhythmic order, metro-rhythmic order. There is an increasing and decreasing rhythm. The endless repetition of any one metric series in the end can seem monotonous and tedious.

Mathematical patterns of composition. Square and rectangle. In the compositional structure of works of art and design, the proportions of rectangles and other geometric shapes that fit this work or its main parts matter. Therefore, one should consider the rectangles, which have found the most widespread use due to their harmonic properties. The square as a constructive form has been known for a long time. He attracted the attention of artists from the Ancient World and the Renaissance. The drawing by Leonardo da Vinci depicts the connection of a square and a circle with a human figure, known to the ancients, (Vitruvius). Renaissance artists - German Dürer, Italian Pacioli, French Tory, developing the outline of the letters, proceeded from the shape of a square, a letter with all its elements fit into a square, although not all letters were equated to a square, but the general compositional structure was determined by a square.

Mathematical patterns of composition. Square and rectangle. The ancient Greeks of the classical era preferred rectangles C 2 and C 5, Hambidge claims that 85% of the works of Greek classical art is built on the rectangle C 5. Being divided vertically and horizontally into two parts, it regains its proportions. This rectangle can be divided into a square and two small rectangles of the golden ratio. In addition, two rectangles of the golden section are visible in it, overlapping each other by the size of a square. The rest is also a rectangle of the golden ratio. Thus, rectangle C 5 exhibits rhythmic properties.

Mathematical patterns of composition. Square and rectangle. Rectangle C 2 is also widely used, especially in the field of applied graphics. It is used as a paper format for business documents, because it has an amazing property - when divided in half, it does not change its proportions. When dividing, a number of similar rectangles are formed, harmoniously connected with each other by the unity of shape. The aspect ratio of the sides in rectangle C 2 used in the Poratman standard.

Mathematical patterns of composition. Square and rectangle. On the basis of prk C 2, standardization and unification of the formats of books, papers, business documents, postcards, posters, folders and other objects related to applied graphics was carried out. This standard, known as Dr. Porstmann's standard, has been adopted in 17 European countries. The standard was based on the format 841 x 1189 mm and an area of ​​1 m 2. The rest of the formats that make up its shares were derived from it: 1 m2 - 841 x 1189 mm 1/2 m2 - 594 x 841 mm 1/4 m2 - 420 x 594 mm 1/8 m2 - 297 x 420 mm (double sheet) 1/16 m2 - 210 x 297 mm (sheet for business correspondence, forms) 1/32 m2 - 148 x 210 mm (half sheet for business correspondence, forms) 1 / 64 m² - 105 x 148 mm (postcard) 1/128 m² - 74 x 105 mm (business card) The standard also provides for additional formats 1000 x 1414 and 917 x 1297 and their shares. The sizes for envelopes are offered: 162 x 229 and 114 x162 (the standard is not shown in full).

Mathematical patterns of composition. Proportions. The principle of the golden ratio. Even in ancient times, man discovered that all phenomena in nature are connected with each other, that everything is in constant motion, change, and, being expressed by a number, reveals amazing patterns. V Ancient Greece the era of the classics, a number of teachings about harmony arose. Of these, the Pythagorean teaching left the deepest mark in world culture. The followers of Pythagoras represented the world, the universe, space, nature and man as a single whole, where everything is interconnected and is in harmonious relationships. Harmony here acts as the beginning of order - the ordering of chaos. The Pythagoreans tried to mathematically substantiate the idea of ​​the unity of the world, argued that symmetrical geometric shapes... They investigated the proportions of the human body and approved the mathematical canon of beauty, according to which the sculptor Polycletus created the "Canon" statue. All classical Greek art bears the stamp of the Pythagorean doctrine of proportions. Scientists of the Middle Ages, science and art of the Renaissance, modern times up to the present day experienced its influence.

Thus, proportionality, proportionality of the parts of a whole is essential condition harmony of the whole and can be expressed mathematically through proportions. Proportion means the equality of two or more relationships. There are several types of proportionality: mathematical, harmonic, geometric, etc. In mathematical, equality of two ratios is expressed by the formula a: b = c: d, and each member of it can be determined through the other three. There are 3 elements in harmonious proportion. They are either pairwise differences of some triple of elements, or by these elements themselves, for example: a: c = (a - b): (b - c) There are also only 3 elements in geometric proportion, but one of them is common: a: b = b : with

Thus, proportionality, proportionality of the parts of the whole is the most important condition for the harmony of the whole and can be expressed mathematically by means of proportions. A variation of the geometric proportion is the proportion of the so-called "golden ratio", which has only two members "a" and "b" - the favorite proportion of artists, which in the Renaissance was called "divine proportion". A feature of the proportion of the golden section is that the last term in it is the difference between the two previous terms, ie: a: b = b: (a - c) The ratio of the golden section is expressed by the number 0.618. The proportion of the golden section: 1 : 0.618 = 0.618: 0.382

Thus, proportionality, proportionality of the parts of the whole is the most important condition for the harmony of the whole and can be expressed mathematically by means of proportions. If a straight line segment is expressed through one, and then divided into two segments along the golden ratio, then the larger segment will be equal to 0.618, and the smaller one, 382. In fig. the division of the segment into parts according to the golden ratio is shown.

Mathematical patterns of composition. Golden ratio rectangle. Based on the proportion of the golden ratio, a series of numbers was built, remarkable in that each subsequent number turned out to be equal to the sum of the two previous ones: 1, 1, 2, 3, 5, 8, 1 З, 21, etc. This series was discovered by an Italian mathematician Fibonacci is therefore called the Fibonacci series. It has the property that the relations between neighboring terms as the numbers of the series increase, more and more approach 0, b 18, that is, to the ratio of the golden ratio. Scientists associate the proportions of the golden ratio with the development of organic matter. The Golden Ratio was found in objects of living nature - in the structure of shells, wood, in the arrangement of sunflower seeds, in the structure of the human body, and it was also observed in the structure of the universe in the arrangement of planets.

Mathematical patterns of composition. Golden ratio rectangle. In relation to the golden ratio, there are also elements of geometric shapes - pentagon, stars.

Mathematical patterns of composition. Golden ratio rectangle. In a rectangle of the golden ratio, the sides are in relation to the golden ratio. This rectangle contains a square and a small rectangle of the golden ratio (its large side is the small side of the original rectangle). Therefore, you can build a rectangle of the golden section on the base of the square: the side of the square is divided in half, a diagonal is drawn from that point to the top, with the help of which a rectangle of the golden section is built on the side of the square

Mathematical patterns of composition. Golden ratio rectangle. If we connect the vertices of the squares of the curve, then we get a logarithmic curve, an endlessly growing spiral, which is called the "development curve", "the spiral of life", because it seems to contain the idea of ​​endless development.

Mathematical patterns of composition. Golden ratio rectangle. The endless repetition of the golden section rectangle and the square when cutting the golden section rectangle reveals the repetition of the whole in its parts, which is one of the conditions for the harmony of the whole. This property of the golden ratio rectangle was discovered by artists and they began to use the golden ratio as a way of harmonization, a way of proportioning. Phidias used the Golden Ratio to build the Acropolis (5th century BC). During the Renaissance, the golden ratio was used not only in architecture, sculpture, painting, but also in poetry and music. Dürer, Leonardo da Vinci and his student Luca Pacioli used the golden ratio in search of harmonious proportions of letters.

Mathematical patterns of composition. We meet the rectangle of the golden ratio both in the proportions of medieval handwritten books and in a modern book, since the slender proportions of the golden ratio allow us to beautifully organize the space of the book page and spread. Diagram of the ideal proportions of a medieval manuscript. The proportions of the page are 2: 3, and the plane occupied by the letter is in the proportion of the golden ratio.

Mathematical patterns of composition. Golden ratio rectangle. One way to determine the size of the dial stripe for a given format.

Module Le Corbusier proposed a modular system, linking it with the dimensions of the human figure and with the proportions of the golden ratio ("Moduler"). Taking as a basis the size of 183 cm (the height of a standing man) and 226 cm (the height of a man with a raised hand), Le Corbusier built mathematical series. The "red scale" - 183 cm, 113 cm, 70 cm. 43 cm. 27 cm and the "blue scale" - 226 cm, 140 cm. 86 cm, etc. Each row of numbers is linked by the proportions of the golden section. It is interesting to note that the numbers on the "blue scale" are formed by doubling the previous numbers on the "red scale". But the most remarkable thing in these ranks is that. that almost all of the indicated dimensions are somehow connected with a certain position of the human figure in space.

Scale To characterize the proportionality of objects, the whole and its individual parts, as well as an object and a person, the concepts of scale and scale are used. The perception of the real size of objects arises only in their comparison with each other. The concept of scale passed into design from architecture and is important characteristic subject. It is based on comparing the size of the object under consideration and our ideas about this value. Deviation from this causes internal protest, and with it aesthetic dissatisfaction. What are the specific signs of "scale" in nature? For large, mature organisms, these are contrasting relationships of body parts (for example, the ratio of the size of the head to the body). It is enough to compare their ratio in a child and in an adult, a puppy and a dog. In plants, the very "chain" of relations can be of different complexity: young tree it is simpler (trunk - branch - leaf), while for a large one it is a trunk - branch - branch - small branch - leaf.

Scale How do you achieve the definition of the necessary, optimal scale and by what means? First of all, by choosing a size that corresponds to our ideas and does not violate the relationship of an object with a person or with a material environment (objects, architecture) and space. The so-called scale gauges are of great importance. These are parts that have a "hard" functional purpose and a value known to us. In architecture, this is the height of stair railings, steps, and seats. In a wheeled vehicle, the height of the cab, always designed for growth. person. The other extreme is oversimplification, which is perceived as rude. By understating or exaggerating the scale, the designer changes the artistic appearance of the object or environment. Along with the understanding of scale as the proportionality of the forms of the environment with a person, there is an interpretation of scale as a means of composition, a means of solving ideological-figurative problems. There are concepts such as "large scale" and "small scale". Large-scale construction is characterized by great laconism of forms, large articulations, which gives it the impression of monumentality.

The AUTHOR himself sets the law by which the perfection of his work is judged. He CHOOS those contrasts that will create the sound he needs, melody, strength - and finds ways to keep this diversity together as ONE.

All design elements in a composition are never on their own. They are in a definite interaction with each other, subordinate to a certain single idea. And so that the whole composition looks harmonious and natural, and does not fall apart into separate components, it is best to follow the basic design principles. The question arises, is it possible to learn the principles of design. It seems to me that there are no specific exercises to learn these principles. All these skills are already embedded in our perception. Because each of us intuitively feels a harmonious composition, or not.

Rather, all of the principles listed below must be taken into account and followed when building a composition. You need to be able to see them in other people's work and be able to describe your own work, based on these principles. And one more thing, it is easiest to talk about these principles when they are violated. Because when they are observed, everything looks harmonious anyway.

1. Balance
Balance is the equilibrium of interacting or opposing forces in a composition. In such a composition, there is no feeling that some part of it dominates over everything else. Balance can be achieved with correct placement objects, object size and color. The balance can be symmetrical (upper figure), asymmetric (lower figure), radial (objects are located in a circle and diverge from one point).

2. Contrast
Contrast is the interaction of opposing elements of a composition, such as color, size, texture, etc. Examples of contrast: large and small, rough and smooth, thick and thin, black and white.

3. Significance and subordination
This principle presupposes the allocation of the so-called center of interest, on which the viewer's attention is supposed to be focused. Objects must be in a hierarchy in order of importance and subordination. If all objects have the same value, then the user's attention is scattered.

4. Direction of attention
Basically, it is the control of the movement of the viewer's gaze as they move around the site in order to draw their attention to significant elements.

5. Proportions
Proportion is the ratio of an individual part to the entire object, as well as the ratio of individual parts to each other. This example shows the Golden Ratio. You can read more about the "Golden Section" in the article ".

6. Scale
Scale is the real, visible size of an object, considered in relation to other objects, people, and the environment.

7. Repetition and rhythm
Involves the repetition of design elements to achieve a specific purpose, for example, to provide a direction of gaze or for continuity of attention.

8. Unity in diversity
It involves a combination of various elements of the composition into a single holistic structure, subordinate to a single concept.

Design and composition in design. Design- the type of design, interdisciplinary artistic and technical activity in the formation of the subject environment. The purpose of the design is to create a harmonious subject environment that most fully satisfies the material and spiritual needs of a person. The two most important components of design are functionality and aesthetics.

The main types of design:

1) Graphic design. The design objects are: fonts, icons, corporate identity, various visual communications, etc. This is work on the plane.

2) Industrial design. The design objects are: machines, devices, equipment, furniture, dishes, clothing. Work with volume is already underway here.

3) Architectural design... The object is: structures and their complexes, including interior design. We are working with space.

4) Design of the architectural environment... The object of design is a complex-dynamic system of the human environment, the optimal subject-spatial organization and imagery of various environmental objects.

New types of design... There are two groups:

1) Sphere design: ecodesign, ergo design (the main condition is to meet ergonomic requirements, i.e. ease of use), futuro design (design of projects of the future, which for some reason cannot be applied in the present), applied design, exhibition design (exhibitions), engineering design (various technical structures, such as bridges).

2) Result-oriented design: art design (single objects of design as an object of art), computer design and web design.

Important! Before embarking on the design of an object, you need to determine its formal qualities: features appearance, structural connections of objects, the purpose of the object. After that, the content of the work is determined, and only after that it is possible to start working on the form.

Composition in design

2. Composition in design. The essence of the concept of "composition". The essence of the concept of "harmony". The essence of the concept of "formality". Formal composition.

Composition in design... This is the construction (structure) of a work, design, the arrangement and connection of its parts, due to their arrangement, corresponding to the purpose and technical idea of ​​the work and its artistic-figurative idea, reflecting the emotional and sensual expectations of the consumer of the design product.

The essence of working on a composition is to expand the artistic side of the product, to achieve complex unity and order through the use of compositional means.

The essence of the concept of "composition"... Composition is a bond different parts into a single whole, in accordance with any idea. These parts, taken together, make up a specific shape. The term "composition" is used in two aspects: 1) it is the purposeful construction of a work of art, due to its content, character and purpose. 2) it is the most important organizing element of the artistic form, giving the work a harmonious unity and wholeness, subordinating its components to each other and to the whole, acting as an attribute of a work of art.

The essence of the concept of "harmony"... Harmony, translated from Greek, is consonance, harmony, the opposite of chaos. Harmony means high level orderliness and meets the aesthetic criteria of perfection and beauty. Concerning 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 so that the formal composition expresses the idea and artistic-figurative design through:

Characteristics and properties of composition elements

Through the structural organization of the elements of the composition

The work on the design of any household product necessarily includes work on the creation artistic image... Everything that the designer designs, be it the interiors of the premises, household appliances or production equipment, should be not only functional and ergonomic, but also meaningful, artistically expressive. For this, professional designers work on a composition that predetermines the main idea and character of the product in accordance with the function and purpose assigned to it. A well-created composition allows you to emotionally influence a person, causing him to have certain associations. Composition in design plays crucial role because it is difficult to create a finished product without bringing to harmony and overall integrity of all its individual components.

Composition concept

Translated from Latin (compositio), composition means articulation, the interconnection of individual parts into a single whole in a predetermined manner. Composition in design is understood as the construction of a holistic and organic object (space), all components of which are interconnected with each other in accordance with a certain idea, designer's idea or meaning. The composition implies the absence of chaos, as well as an unambiguous, elementary structure. A compositional solution is born where the system or structure of elements looks rather complicated, be it any household appliance made on industrial equipment, or an organism created by nature itself.

The composition is designed to give any object that surrounds a person in Everyday life, a slender, clear form and a logical, outwardly attractive arrangement of elements that make up the whole. Compositional principles can be traced in one way or another in nature - in the structure of plants, the structure of animals and microorganisms. A person uses them to create household items, works of art, cars, architectural structures, production machines and other design objects. Only with a correctly built composition, that is, a harmonious combination of individual elements into a single whole, an emotional, clearly expressed artistic image is created.

Composite means

When defining a compositional solution, the designer has a specific task - to ensure such a sequence and interconnection of parts of an object and its individual components in order to best identify the content, purpose of the product being created and provide it with an expressive art form. The composition, on the one hand, should determine the meaning of the work, and on the other hand, it should harmonize the form. Thus, through the compositional solution, an inextricable relationship between form and content is ensured. To solve this complex problem, a designer can use a whole range of compositional tools, which include:

- Symmetry

Symmetry is based on a certain order or pattern of arrangement of individual parts of a whole along one or two axes. A simple example of symmetry in interior design is the placement of lamps on two opposite walls of a room. Symmetry contributes to the integrity of the perception, ensuring the attractiveness of the form. It gives a person the impression of order and a sense of a single whole. No wonder, even in ancient times, symmetry was considered one of the conditions for the beauty of an object. However, in the nature around us there is no absolute symmetry (except perhaps for crystals).

The same applies to design - often when building a composition, designers deliberately resort to certain violations in symmetry in order to make the created object more lively, dynamic and interesting. The opposite of symmetry is asymmetry, which is due to the opposition of individual elements. Asymmetry can be used in design to express movement or to create a powerful emotional impulse in the viewer.

- Proportionality

The product created by the designer always has certain dimensions and dimensions, which are in the appropriate proportion. Correctly found proportions as a means of composition can provide an object with greater artistic expression.

- Contrast, similarity and nuance

The ratio of individual components to each other is determined not only by proportion, but also by contrast. Contrast helps the designer to give different properties to individual elements, for example, by highlighting parts of the same physical size in different colors or by using in one place objects that are similar in functionality, but completely different in size. Contrasting forms help to create a holistic image, however, it is important that the difference between individual elements does not visually disturb the overall composition.

Identity or similarity is the opposite of contrast. It involves the use of completely similar objects or elements, for example, the use of exactly the same materials when decorating a room. In most cases, using identity results in a monotonous, boring composition. To prevent this from happening, the composition is deliberately disturbed by contrast or nuance. A nuance is a certain ratio of elements, in which there are differences in the properties of the elements, but they are insignificant. Accordingly, nuance helps to avoid clear contradictions in the composition, while at the same time making it less monotonous.

- Scale

Scale in design determines the proportionality of the created object to a certain standard, and in most cases the person himself acts as the standard. Human perception depends on the scale of the object and its individual parts. This is an objective law that also exists in nature. For example, young, newly born organisms are always smaller, simpler in structure and have a streamlined shape. Older organisms are more complex in structure with different proportions, more detail, and sharper outlines.

- Equilibrium

The composition can then be considered complete when it visually looks balanced, which is determined by a certain ratio of details, colors and plastic elements. To ensure balance, all the components of the whole must be balanced with each other. Usually, compositional balance is associated with the static structure of an object, however, in many cases, balance can coexist with internal dynamics.

- Revealing the center

The compositional solution requires the definition of a semantic center. The shape and location of such a center can be very different, but the center of the composition must necessarily balance all other elements. For example, in the design of the interiors of an apartment or a country house, the center of the composition is often the living room, and in it, in turn, the projector, coffee table or a TV set around which the whole interior is created.

- Rhythm

Rhythm is a certain alternation of elements, their properties in space. A certain rhythm simplifies the perception of the subject and at the same time creates required voltage, dynamics. Rhythm in a composition is a significant means of expressiveness, it can be explicit, that is, the structure of all elements obeys it, or it can be hidden, muted.

It is also worth noting that a composition can be dynamic or static in nature. Static is achieved by symmetry, poise, fitting all elements into simple geometric shapes and ensuring a minimum amount of free space. For a dynamic composition, designers use diagonal lines and plan free space in front of the moving elements. In design, the expressiveness of the composition can be provided not only by the above means, but also by a competent choice of material, its texture and texture. Correctly selected texture and texture of the material allows you to emphasize the beauty of the form and enhance the sound of the entire compositional solution.

Types of composition

It is customary to distinguish the following types of composition:

- Linear

Here, the content of the created product or object is conveyed through a certain type and nature of the line. The strict directionality of the forms ensures the stability of the compositional solution (with a horizontal orientation), or dynamics (with a vertical one). Linear composition implies the use of simple geometric patterns or complex, curvilinear ones, through which visual mobility and plasticity of the product being created can be ensured.

- Frontal

Such a composition assumes that all the details are placed in the same plane, in the vertical and horizontal directions. Various flat elements are used to create such a composition.

- Volumetric

In a volumetric composition, the distribution of elements occurs not only in height and width, but also in depth. It is the depth that creates the volumetric shape of the object; it makes the composition three-dimensional. Also, there is a volumetric-frontal composition, which provides for the distribution of relief elements on one plane.

- Spatial

Here the dimensions of the space in which the objects are located come to the fore. Even small parts may have huge value for a compositional solution, because a person is able to clearly relate the dimensions of the objects around him. Such a composition is organized using volumes and materials. When different, but interconnected elements are placed at different levels and in different planes, they already speak of a volumetric-spatial composition. Volumetric and spatial solutions are often used in the design of shelves or the design of exhibition stands.

Building composition in design

Composition in design determines the purpose, form, main meaning of the created product or the projected interior of the room. The essence of work on a compositional solution lies in the formation of a holistic, harmonious image that meets the purpose and main idea of ​​the object. The composition makes any object that surrounds a person in everyday life expressive and harmonious.

Creating a composition is creative process, which nevertheless relies on certain rules... In particular, building a composition requires three important components. These are integrity (all elements or parts of the whole should be interconnected with each other), expressiveness (the composition should quickly capture the viewer's attention and awaken certain associations in it) and the presence of a semantic center (definition of the part that expresses the main idea or functional purpose).

In his work, the designer first selects the characteristic details of the future composition, combining them according to homogeneous characteristics (for example, by color, size or texture). Then he identifies the most important details that need to be emphasized in the created composition. To prevent the composition from being monotonous, he includes contrast or nuance in it, thereby ensuring the presence of a certain tension. Next, the static or dynamic character of the composition is selected through the use of symmetrical or asymmetric details.

It is also important to combine individual parts into groups in order to further provide free space between them and emphasize the subordination between the groups. With the help of lines and plastics, the relationship between groups of elements is achieved, and through color and sizing, three-dimensional, perspective or stereoscopic form is provided.

Today, computer tools come to the aid of designers in solving the complex task of designing a composition. In modern programs for processing raster or vector images, you can easily transform the shape of objects, "play" with their color solutions, texture and various effects. The software allows the designer to try and consider a wide variety of combinations in a fairly short time to find the optimal compositional solution. This also applies to industrial or product design, and interior design and even text design, since text can also act as an element of the composition.

Composition (from the Latin word "compositio" means "to connect", "to arrange", "to compose", "to fold")- a harmonious arrangement of various elements, combined into a single image. There are five laws of composition: the law of integrity, the law of proportions, the law of symmetry, the law of rhythm, the law of the main thing in general. These laws create a single harmonious system of composition. Consider these laws, using them as methods for constructing a composition.

In the general composition, some of these methods are more important, some less, but you need to understand that in a properly built composition there are no unnecessary (unnecessary) elements. All elements in the composition are interconnected and work for a common compositional structure. If some elements are clearly superfluous, then the integrity of the composition is violated. Compositional techniques can be learned, and the construction of a composition can be calculated in advance.

Perception properties of form

1. Geometric view.
This is a property of a form, determined by the ratio of its dimensions along three spatial coordinates, as well as by the configuration of the surface of the form. Depending on the predominance of one of the three dimensions, there are three main types of shape: volumetric, flat, linear.
2. The magnitude.
3. Value is a relative concept. A person, evaluating the size of a form, correlates it with himself or with neighboring forms.

Position in space... The property of this shape is determined by its location among other shapes relative to the observer in a three-dimensional coordinate system. In a two-dimensional field of a sheet or on a monitor screen, we can actually move an object in the direction of verticals, horizontals and diagonals. Effects can be achieved with just slight displacement of shapes in any of these directions.

Visual mass. Visual assessment of the visual mass consists in the volume of the substance enclosed in a given form. The greatest mass is possessed by the forms that are close in geometry to a cube and a sphere, the minimum visual mass is in linear forms (point, line). This must be taken into account when determining the main and secondary elements in the work.

Texture and texture

Texture- a property that characterizes the external structure of the surface of the form (for example, it is rough or smooth).

Texture - the material that makes up an object is called a texture. For example, wood and polished stone are almost the same to the touch (this is the texture), but the pattern of the material is completely different (this is the texture). Texture and texture- the most powerful means of expression. Their influence can be more active than the influence of the form itself. Emphasizing, or, conversely, distorting proportions, putting together or breaking a shape, tearing it off from the background or merging with it - all this can be done by the magic of textures.

Color and tone

One of essential properties shapes that have a specific color and tone. The expressiveness of color is manifested in bright, saturated colors and contrasting combinations.

Chiaroscuro. Thanks to the play of chiaroscuro, any composition can be made voluminous, chiaroscuro adds realism to the forms of the composition.

Composition techniques

Statics- a means of transferring the feeling of peace in the composition.
The vertical arrangement of elements (along imaginary vertical lines) can optically balance and make the composition heavier. Even a small logo can be given a monumentality (this must be taken into account when developing a particular sign, if you need to add "weight", "heaviness", "significance").
A clear contour, symmetry, an increase in complexity towards the center, fullness of space, multi-element - all these are signs closed type compositions. It is logical to use this type of composition to convey real estate, monumentality, oppression, stability, stability, and so on. Often, it is in closed compositions that static with internal dynamics is used.

Dynamics- elements located on diagonal lines enhance visual movement. Gives an expressive character to the image and, accordingly, we use this when developing a specific task. For example, for an open composition, it is mainly built from the center, several compositional nodes are established around which the development of elements occurs, a rhythmic row is used. It is used to create a sense of space.

Symmetry- properties of figures in the composition, located on the same perpendicular to a given plane (or straight line), on opposite sides of it and at the same distance from it. These figures are symmetrical about this plane or straight line. Symmetry can be complete or incomplete. Incomplete symmetry creates a ratio of masses of the right and left sides, but not identity.

Asymmetry- lack of symmetry. With an asymmetrical composition, most of the elements are displaced away from the imaginary axis of symmetry (or from the center). With the help of symmetry, we can make the image static, and asymmetry, on the contrary, enhances the dynamics. And I want to note that asymmetry and dynamics do not mean chaos in the composition. In asymmetric compositions, it is harder to achieve balance. It is achieved by balancing the masses in color and shape, location in space. Correctly aligned elements bring harmony and stability to the composition.

Proportions(translated from Latin means "Ratio", "proportionality"). In composition, proportions are the ratio of the values ​​of the elements and the entire image as a whole. The simplest proportions are based on short and integer ratios of 1: 2; 3: 4, etc. My advice to you is to keep this type of aspect ratio when placing a composition block on a sheet. For example, the top margin from the edge of the sheet is 1 unit, and from the bottom it is 2 (1: 2), etc. So it will not “fall down” and “fly up”. The most famous proportional relationship is "Golden ratio". The human figure is tied with a belt, then the distance from the waist to the feet is measured - this value is proportional to the distance from the body to the crown, and the entire height of a person refers to the length from the waist to the feet. "Fibonacci series" - each number is the sum of the two previous ones - 1, 1, 2, 3, 5.8, 13, 21. The proportions harmoniously keep dynamic and static compositions. The dynamics are always determined by two different ratios smaller and larger values ​​(3: 4), and statics (1: 1).

Regularities of compositional structures

Rhythm- alternation of different elements in the composition and intervals. It is difficult to imagine a composition without rhythm. The interaction of elements with each other is the rhythm. The rhythm can be vertical - the alternation of individual elements in a vertical direction. Alternation in the horizontal direction is a horizontal rhythm, it, as a rule, makes the composition static, slows it down.
Meter is the repetition of the same elements and intervals.

Rhythmic patterns of composition:

Contrast- a pronounced opposition of elements in the rhythmic structure. Contrast can be tonal, color, size, shape, position.

Nuance- a weakly expressed change in the elements in the rhythmic structure relative to each other. Nuance allows us to make elements unobtrusive, which helps create harmony in the composition.

Traffic- gradual change of elements in the rhythmic structure within a given range.
Sometimes it is simply necessary to create a dynamic composition to "make its elements move." To do this, we distribute the free space along the guides of movement of the elements. The space through which the element "moves" can either fit into the compositional boundaries, so visually and go beyond it.

Accent- from Latin "stress". The element that we especially emphasize in the composition, we put emphasis on it, we focus the viewer's attention on it. We achieve this by the already familiar changes in compositional laws: color, tone, shape, size, position. It happens that the accent is made on a small element of the composition, but at the same time it literally "explodes" it.
There are also inherent qualities that change the structure: color, tone, shape, size, position.

Dominant- the predominance of one part of the structure over another.
For example, the predominance of any color or elements of a certain shape, etc.
There are also inherent qualities that change the structure: color, tone, shape, size, position.

There is such a feature of human psychology that he does not strive for monotony and repetition, but, on the contrary, for development, improvement, movement. And we strive to make the same composition visually very interesting, to bring dynamics, to somehow attract the attention of the viewer.
And this is achieved by applying the above methods. Moreover, there are no strict rules for the application of any one of them. They can be combined with each other. The main thing is not to forget about the harmoniously built composition and not to "clog" it with unnecessary "special effects".