10 simple rules for building a composition in a frame.
1. Contrast
How to draw the attention of the viewer to your photo? There should be contrast in the frame:
- A lighter object is photographed against a dark background, and a dark object against a light one.
- Do not photograph people on a yellow or brown background, the color of the photo will be unnatural.
- Do not shoot people against a colorful background, such a background distracts the viewer's attention from the model.
2. Accommodation
Important plot elements should not be randomly placed. It is better that they form simple geometric shapes.
3. Balance
Objects located in different parts of the frame must match each other in volume, size and tone.
4. Golden Ratio
The golden ratio was known in ancient Egypt, its properties were studied by Euclid and Leonardo da Vinci. The simplest description of the golden ratio is that the best point for the location of the subject is about 1/3 of the horizontal or vertical border of the frame. The location of important objects in these visual points looks natural and attracts the viewer's attention.
5. Diagonals
One of the most effective compositional premiums is the diagonal composition.
Its essence is very simple: we place the main objects of the frame along the diagonal of the frame. For example, from the top left corner of the frame to the bottom right.
This technique is good because such a composition continuously leads the viewer's eye through the entire photo.
6. Format
If the frame is dominated by vertical objects - shoot vertical frames. If you are photographing a landscape, take horizontal shots.
7. Shooting point
The choice of shooting point directly affects the emotional perception of the picture. Let's remember a few simple rules:
- For a portrait, the best point is at eye level.
- For a full-length portrait - at waist level.
- Try to crop the frame so that the horizon line does not divide the photo in half. Otherwise, it will be difficult for the viewer to focus on the objects in the frame.
- Keep the camera at the level of the subject, otherwise you risk getting distorted proportions. An object viewed from above appears smaller than it really is. So, shooting a person from the top point, in the photo you will get a small person. When photographing children or animals, lower yourself to their eye level.
8. Direction
When building a composition, always keep this in mind.
9. Color spot
If there is a spot of color in one part of the frame, then there must be something in the other that will attract the attention of the viewer. This may be another color spot or, for example, an action in the frame.
10. Movement in the frame
When filming a moving subject (car, cyclist), always leave clear space in front of the subject. Simply put, position the subject as if it had just "entered" the frame, not "left" it.
When we talk about how to take better photos, we mean how to take GOOD photos. After all, everyone who picks up a camera wants to get GOOD SHOT. How to achieve this? Alas, there is no universal recipe. Everyone finds and walks his own path, but this path can be made much shorter if, instead of learning from your own "bitter experience", you use the experience and knowledge accumulated by the centuries-old experience of artists and several generations of photographers.
So, let's start the second photography lesson and the first workshop in full format. In the previous release, due to lack of space, we were unable to put everything that was intended. Starting from this issue of the magazine, we will try to give each workshop in three parts:
Completion of the previous theme, this time "Shooting point and angle".
A small theoretical digression and the most visual disclosure of the main topic - "Light in photography".
· A visual announcement of the main theme of the next issue on the examples of the most typical mistakes of beginner amateur photographers - "Choosing the Right Exposure".
Shooting point and angle
Speaking about the shooting point and angle, we understand that it does not matter who moves - the subject or the photographer. In any case, changing the relative position of the camera and the photo image allows you to build a frame, the main thing is to choose the right moment to press the button ... Yesterday, today and always, choosing the shooting point, angle, shooting moment and framing is a process that ensures the construction of the frame and the creation of the basis of photography . Why the basics? Because there is still light - the most powerful tool that creates an image, and there are a lot of technical aspects that ensure the technical quality of photography.
With regard to the construction of the frame, they often talk about a linear drawing, composition, plot, image ... There are many approaches to studying this issue, each of which is good in its own way. We will focus on the practical side of the photography process, paying attention to important psychological points and only touching on the elements of the "naked" theory when necessary. Before continuing, let's ask ourselves: what makes a good photo different from a bad one? Why is one image liked, admired, and the other not?
It is conditionally possible to distinguish three levels of photography skills. Level one - documentary, when a novice amateur photographer simply captures the imprint of the reality that he observes. This is everyday documentary: “Me and my friends; my family; I am in front of the monument; we are celebrating...; my favorite cat". Here, as a rule, it is not even worth talking about building a frame. The photographer does not yet think about the composition and plot, the task is to fix it “for memory”. In such pictures there is no volume, they are flat and two-dimensional. A piece of life 10×15, interesting to the author and participants of the recorded events.
On the second level figuratively, there is an understanding of the frame. Understanding that for the viewer, all the elements captured in the photograph are in interaction with each other, creating an independent image, and should TOGETHER carry a semantic load. The photographer does not just shoot interesting objects, he creates a composition in which new beauty appears, dissolved in space and invisible to the ordinary eye. The author is already considering the angle, plan, perspective. The photo may not yet have a plot that will cause a storm of emotions, but the image becomes interesting at least from the point of view: how is it done? Here, on a flat imprint, the third dimension appears. And there are quite simple techniques that help to achieve three-dimensional photography.
Third level - plot. When there is not only an interesting image in the frame, but also a movement appears that gives rise to vivid emotions in most viewers. In the plane, as it were, the fourth dimension appears - the movement of time is guessed. We can feel what was before the moment of the snapshot and what will happen after it. A big photo is a small life. At the same time, the photographer, as a rule, no longer thinks about the techniques that he uses. His consciousness is free and focused only on the image. He cares about "what", not "how".
Naturally, it is impossible to immediately get from the first level to the third. The path to mastery goes through several stages: knowledge, understanding, ability, habit... The task of our workshop is to help you pass the first and second stages. The rest is in your hands.
So, to learn how to photograph, you need to learn how to use the means of photography. Considering the high intelligence of modern cameras, which save a lot of trouble, first of all, a novice photographer needs to understand what to put in the frame and what not to put in it: at what angle, from what angle, on what scale? Everything that appears in the frame will make up the composition of the photograph (Composition - from Latin - composition, composition, arrangement, combination of individual elements into a single harmonious whole).
Or it won't. It may turn out to be just a set of individual elements, even if they are technically well-recorded. Composition, alas, does not exist objectively and independently of a person, it makes sense only within the framework of the worldview, primarily aesthetic. Therefore, it is possible to talk about the principles and means of composition based on the physiological foundations of perception and that part of subjective experience that is common to most people. However, let's get down to business.
Our job is to build something out of nothing. For clarity, simplicity, and most importantly, for the reproducibility of our practical research, we chose a certain number of coins and a leaf from an oyster (ordinary shell) as the subject of shooting. Arbitrarily put all this on the most ordinary table. The picture, as you can see (picture 1, top view), is not the most attractive.
Let's try, without moving anything, to find a shooting point and an angle that will give at least some composition in the frame.
SERIES 1. The first thing to do is to "shoot", look for the best angle and shooting point. We move around the still life. Usually, such pictures, of course, are not taken, it is enough just to look into the viewfinder to understand that the frame is “not being built”.
Photo 2 (left - bottom). All in all, it turned out to be a pretty picture. Glitter of coins, shell texture, shadow pattern. In addition to the photo is the location of the sink. It is "held" in one of the nodes in accordance with the rule of three thirds*.
Coins occupy the other three attention nodes. Due to this, the picture is perceived as stable and balanced. But further work with this photo is useless. You can't build a multi-plane shot here. The sink and coins are located in relation to the viewer almost on the same level. In addition, such a composition causes discomfort. The two objects are in equilibrium. They argue with each other. At the same time, the question is: “who is stronger?” - remains unanswered. Let's move some more.
Photo 3 (right - bottom). The sink occupied the lower right corner. According to the rule of the left hand **, the movement of the gaze goes from the upper left corner to the lower right and rests on the sink. She seems to slow down her gaze. In addition, the frame becomes unbalanced***.
The upper left corner is empty, and all attention is focused on the sink. But the sink from this angle is not so interesting as to draw attention to it. There is no subject in the picture.
We stopped at the picture in which the sink is located in the upper left corner. Now let's try to enhance the sense of planning, the depth of the picture. It must be remembered: the closer the angle of view to the perpendicular lowered onto the plane, the fewer plans there will be in the photograph. You need to look for a point of view so that the objects are at different distances from each other and from the photographer.
SERIES 2. If before that we rotated around objects clockwise, now the camera will mainly move along the conditional celestial sphere and approaching and moving away in relation to the object.
Photo 1 (depth search 1). Plus - the picture was taken according to the rule of three thirds. The bottom third is the tabletop, which creates a sense of "air" in the shot. The top two thirds are coins and a shell. Coins, if you look closely, form two arcs, two fronts. There is an element of rhythm in this.
*
Rhythm in photography is a harmonious alternation of geometric shapes, spots and lines. Used to express expression.
There is a little more depth than in previous shots, but still not enough. There is no stability, no balance. Let's try to go even lower.
Photo 2 (depth search 2). The sense of perspective intensified. A reflection of coins and the shadow of a sink appeared on the tabletop. Obvious first and middle plan, and coins going into the distance - a distant plan. But now the frame is not filled. Let's try to change the scale.
Shot 3 (piling up. Close-up 1). We got closer, but it seems too close. The clear dominance of the shell, and the "dump" of coins in the foreground. This picture does not evoke any emotions. But if the task is to show the bulkiness of small, at first glance, objects, then the shooting point, angle, plan - everything is chosen well. However, we did not strive for this effect, so we will try to reduce the shell in the frame and increase the weight of the coins.
Photo 4 (close-up 2). We're getting closer. Despite the fact that there is an obvious observance of the rule of three thirds, the photograph does not look harmonious. Let's try with the same scale to slightly change the angle.
Photo 5 (close-up 3). The shell has gone a little to the right and looks like the bow of a ship that cuts through the "coin waves". This is the first thing that comes to mind. Perhaps this is not the most difficult association, but the fact that photography makes the imagination work is already good. We will not search further here. Let's try to find a new angle.
Photo 6 (Larger plan). We remove the clutter from the foreground, move it to the side. Slightly zoomed out to show the shell. Diversity has reappeared: coins from the foreground through the middle one go behind the shell. Interesting texture. Balance appears: the upper left corner and the lower right corner are occupied by a shell and coins. A visual corridor is formed between them, which goes from left to right. With a large number of pluses, there is also a significant minus: the picture actually splits into two equal parts. The shell and the coins are arguing among themselves.
Photo 7 (close-up to the left of 2.). We increase the plan a little. Plannedness due to the "coin arc" is preserved. Let's try to find a new angle.
Photo 8 (new angle 1). It is completely incomprehensible what the sink is doing in the picture. There is a simple rule: everything that is possible must be removed from the frame. If the shell disappears, nothing fundamentally changes. But we are faced with the task of removing both the coins and the shell - so that everything plays.
Photo 9 (new angle 2). Increased the presence of the sink. There are plans: front with reflection, middle with objects, back - "air". The rule of three thirds is respected. There was a reflection in the tabletop. A certain “predation” has formed at the sink. She seems to be eating coins. The dominance of the shell is emphasized by the tilt towards it. Let's slightly increase this effect.
Photo 10 (total tandem 1). In principle, this picture can be considered as some result. There is a very clear image of an "aggressive shell".
Photo 11 (total tandem 2). We tried changing the framing. To do this, they raised the lens, the sink, thus, went down. Two three are occupied with objects. In the foreground is a tabletop with a reflection. The frame does not seem crowded with objects. He "breathes".
SERIES 3. In the previous series of shots, we only slightly used camera tilt. Let's try to play with this feature. Many are afraid to rotate the camera. And absolutely in vain. Sometimes tilting can give interesting results.
Photo 1 (slope 1). Everything fell out of the frame. The coins are almost invisible, it is not clear what kind of texture on the right. Let's try to bring everything back into the frame and keep the tilt.
Photo 2 (tilt 2). Objects are clearly attributed in the frame, but the slope coincides with the diagonal of the natural movement of the gaze (the left hand rule) and therefore is completely unreadable. Hence there is no movement dynamics, there is a slip. If we wanted to achieve the feeling of sliding, we would be fine with this shot.
Photo 3 (tilt 3. Hint of movement). Reverse the slope. Movement appeared, but not very intelligible.
Photo 4 (creeping total). Slightly increased the slope, increased the effect of movement. The shell has turned into a living creature that seeks to crawl away somewhere and at the same time leaves behind a train of coins. It cannot be said that this is a masterpiece, but this picture already evokes some associations. There are no lines as such here*, but they are guessed. Attention nodes are involved according to the rule of thirds.
* Any lines in the picture are a good tool for emotional impact on the viewer. Curved lines are soothing; broken lines act as an irritant; vertical lines convey greatness, strength, power; horizontal - calmness and serenity; diagonal - dynamism.
In principle, you can still work with the final shots of the second and third series. For example, play with light, with shadows, with the intensity of surface mirroring. All this will create additional dynamics. Working with light is the next topic of our workshop.
And before we put an end to this topic, we want to give advice: “Looking into the viewfinder, imagine what you see as a framed photograph on the wall of your dwelling. If it suits you - boldly, but gently press the "descent" button, if not - continue searching for the angle.
* Rule of three thirds. The frame is conventionally divided vertically and horizontally into three equal parts. Any surfaces are best placed in a 1:2 ratio. For example, in one upper part of the picture, place the sky. In the bottom two - the ground. Or reverse. This arrangement allows you to determine what dominates the picture, what is emphasized. In addition, at the intersection of two vertical and two horizontal lines, which conditionally divide the image into parts, four "nodes" of attention are formed. It is best to place objects in them.
** Rule of the left hand. Most people look first at the top left corner of the image, and then their gaze shifts to the bottom right. If, for example, you need to highlight a road in a photo, then it is better to start it from the lower left corner to the upper right. Thus, in the path of natural movement of the eye from left to right, it will “stumble” over the edge of the road and highlight it. Otherwise, the road will simply be lost in the picture.
*** There are two types of equilibrium in a snapshot: formal and informal. Formal balance is achieved by absolute symmetry to the left and right of the optical center of the image. The composition, balanced in this way, emphasizes the dignity, stability and conservatism of the image. You can achieve balance in a different way if you place elements of different sizes, shapes, color intensities at different distances from the optical center. This is an informal balance. It makes the photo more imaginative and emotionally rich.
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10 tips to help you improve the composition of your photos. Whenever you're wondering how to compose a photo, you can use these tips to get good shots.
In simple terms, the “rule of odd” is to have an odd number of objects in your photos. As an example, a photograph of only one object or a group of three people. This technique makes the photograph more attractive and interesting to the human eye.
This picture of four berries is quite bland and boring. It is difficult to find the center of focus in this image.
Although the shot is similar to the previous photo, the odd number of strawberries make it more interesting.
Focus limiting is an easy way to add focus itself. This may not be necessary in all photos, but it is useful whenever you have objects that you want to hide. The most common use of this technique is to blur unwanted backgrounds. You can reduce the depth of field of your photos by using a large aperture (eg F1.8), zooming in, and using a high sensitivity camera (eg full frame DSLR).
If the trees in the background were in focus, it would detract from the subject of this photo. The blurred background emphasizes the focus on the couple.
Blurring the background helps draw attention to people.
A good way to set the center of focus is to keep the image as simple as possible. The most convenient way to do this is to limit the number of objects in your photo. You can also use the previous tip to blur unwanted objects.
The simplicity of this photo makes the idea clear. A simple photo grabs attention and makes people look at it longer.
Centering the subject creates balance in the photo. Centering looks best on simple photos with few objects.
You can improve subject focus by keeping the space around the subject clear.
A boring object becomes interesting if it is kept simple and centered.
This is one of the most effective and popular ways to compose a photo. You can enhance your photos using this technique. The “Rule of Thirds” adds interest to a photo by aligning your subject to one of the four points of an imaginary 3x3 rectangle made from your image.
A simple image became more interesting after applying the rule of thirds.
When shooting portraits, you can use the rule of thirds to add focus to the eyes. Simply position the eye or the area between the eyes using the rule of thirds to create a good portrait.
Leading space is the space in front of the object. This element is usually used in conjunction with the rule of thirds to create a more interesting photo. Leaving a piece of space in front of the object, the viewer will see the continuation of the action.
The snowboarder is positioned on the rule of thirds with some leading space in front of it.
Leaving some leading space in front of the runner makes the photo look more active. It also draws more attention to the sunset.
Leaving a patch of space behind the runner causes the end-of-run effect to appear.
S Curve is an imaginary streak in a photo in the shape of an S. This type of streak makes the photo look more interesting by directing the eye along a predetermined path.
An example of a highway with an S curve. This photograph of a simple landscape is made more interesting with an S curve.
A similar photo of a highway, but without the S curve, is less dynamic.
The earliest examples of the S curve are used in Greek and Roman sculpture.
Most of the photographs have a middle and a background, and very little space is given to the foreground. You can enhance your landscape photos by including some foreground objects. This is an indispensable technique for creating a sense of scale and making the viewer feel like he or she is in the photograph.
The rocks in this landscape add scale and a sense of depth to the photograph.
Adding more foreground to the photo adds a sense of reality.
When you think you are close enough to the subject, try to get even closer. Fill most of the frame with the subject and you'll get a completely different composition. Often more attractive.
Being close to the subject and filling the frame with the wolf's head gives more emphasis to the wolf and creates more drama. Both photos show the same wolf, but the stories he tells are completely different.
Here's a creative way to add foreground to your photos! Use the elements around you to create an image framed by objects. This technique is a great way to add appeal to a photo and create an image that stands out from the rest.
This photo uses a silhouette to frame the Taj Mahal.
The frame should not stand out or have a specific shape. It can be as natural as the two trees in this picture.
Thus, it is clear that composition is of great importance. But what is composition? Roughly speaking, this is a space where individual elements must come together, and where images, text, graphics and colors are formed into a single design in which everything fits together.
Successful composition means that you have ordered the elements and distributed them correctly, and this not only looks beautiful on the outside, but is also effective from a functional point of view. So let's run through the basic tips, tricks and techniques that will make you a composition guru in minutes.
1. Focus on the essentials
As we were once taught in school, the distribution of the accent is very important. A key element of any good composition is focus, as it helps the viewer to focus on the most important details of the design in the first place.
Attention-grabbing techniques include scale, contrast, and pointers, and we'll talk about them in more detail later. Now let's analyze the above example.
2. Direct the reader's eye with pointers
Just as you point a person to something you would like to show them, direct the viewer's eye with the help of a certain arrangement of lines and various shapes. This way you can achieve the correct perception of your design.
Most likely, you are already familiar with one of the most common types of pointers - schematic. Diagrams use lines to guide the eye from one point to another in a fairly obvious pattern. Take a look at this date invitation card from Paper and Parcel. The designer decided to use schematic signs to convey information in an interactive and unusual way.
In addition, they may point to some connecting elements of the text or small pieces of information. As already mentioned, you must first focus on the main subject; but where will you look after? By placing the pointers correctly, you will not only be able to control the focus on the main elements, but also direct your viewer's eye throughout the design.
Let's take a look at the poster from Design By Day, for example, which uses clear guide lines that first guide you to the main element (the title) and then to different segments of the text.
Of course, it doesn't make sense to use such obvious pointers in every design, but that doesn't mean there's no other way out. Find some shapes and lines in the images and graphics you use and use them to guide the viewer's gaze.
This can be seen in the 1 Trick Pony poster, where the man's right hand is used to "redirect" the gaze from the image to the logo, and then to the bottom of the image. Thus, the shapes of the image can serve as pointers.
3. Scale and hierarchy
Scale and visual hierarchy are some of those creative foundations that can either ruin your design or make it sweet. Therefore, it is so important to be able to apply them correctly to create a successful composition.
In short, hierarchy is the structuring of elements in order of importance. So, you can make the more important object of your design larger and brighter, and the secondary elements smaller and paler.
It is especially important to consider hierarchy when writing text. For more information on hierarchy in typography, you can refer to Why Every Design Needs Three Levels of Typographic Hierarchy.
Scale is often used to connect the elements of a hierarchy. A large scale draws attention to certain objects, emphasizing their importance for proper communication.
For example, this poster by Jessica Svendsen uses an enlarged image as the largest element to draw maximum attention to the subject. The heading is the largest text element, being the most important piece of information in this context, while the rest of the text is written on a much smaller scale. In this way, the scale identifies the main objects of the design and preserves the typographic hierarchy.
Scale is also an incredibly useful tool when it comes to creating proportions and a sense of size. You can make some things seem as detailed, intricate and small as possible, or you can make them big and even unwieldy.
By creating a contrast between a small and a large element in a composition, you can achieve a wide variety of effects.
4. Balance the Elements
Balance is a pretty important thing in terms of many aspects. And of course your design is no exception.
But how to maintain this very balance within the framework of your own design? Let's quickly go over the two main types of balance and how to achieve it.
First, there is a symmetrical balance. Its essence is obvious - the balance of design is achieved through symmetry. By reflecting certain elements on both sides (right-left, top-bottom), you achieve absolute balance.
Here is an example of a symmetrical balance. In her wedding invitation, Jennifer Wick uses a symmetrical composition where text and graphics are mirrored. Thanks to symmetry, the invitation looks elegant, neat and balanced.
Jennifer Wick
The second type, which is probably much more common, is the asymmetrical balance. Its name also speaks for itself - the balance is achieved by the asymmetric arrangement of elements.
Here is an example of the successful use of asymmetric balance. In his poster, Munchy Potato deliberately distributed circles of different sizes in different areas of space, thus achieving asymmetry.
In the example above, the three central circles are the largest design elements, but they are nonetheless balanced by the right typeface, graphics, and the use of a small textured circle in the bottom corner of the poster.
To develop skills in creating asymmetric balance, it is necessary to think of each element as a unit that has its own “weight”. Smaller objects, respectively, should "weigh" less, and texture-rich elements should "weigh" more than homogeneous ones. Whatever the purpose of your design, you must always achieve a balance among the objects used.
5. Use elements that complement each other
You must have heard of complementary colors, but have you heard of complementary design elements? One of the key elements of a successful and effective composition is the careful, purposeful selection of each design object, in which everything must turn into a single whole.
A common mistake when creating a composition is to use images that do not complement each other. Therefore, when you decide to use multiple images, always check if they have the right impact on the viewer and if there is a necessary connection between them. Here are a few ways to achieve this effect.
Use pictures from one photo session. It's an incredibly easy way to make sure your images stay connected, given that they're in the same style and direction. For example, designers Jekyll & Hyde and Elena Bonanomi use this technique in one of the spreads in Must magazine.
Images must be in the same color scheme. There is now a wide variety of filters and photo editing tools available to help you make sure that your selected images belong to the same color range, and therefore are related. A is a Name made his poster completely black and white to achieve a color connection between objects.
A is a Name
Choose similar pictures. Try to combine images with similar parameters and style. For example, if one of the photos was taken in a minimalist style, you need to use similar shots. Below is Feint’s design solution, where certain “roughnesses” can be observed in all the selected images - various textures, woody motifs and cold shades.
Creating a good layout also involves the right combination of text and graphics, where these elements complement each other. Each typeface in different environments has certain hues and associations—for example, a crisp, italic typeface with lots of curls can be associated with elegance and sophistication. Therefore, try to choose a font depending on your own goals and intentions.
6. Increase (or decrease) the contrast
Contrast is an incredibly useful tool for both highlighting and hiding elements of your design. By boosting the contrast, or using a high contrast palette, you can draw attention to a particular subject. At the same time, by reducing the contrast, you can achieve a transparent effect for some elements, making them less visible.
Whereas in the previous design a resonant color is used to draw attention, in the following example it is used to hide a certain element.
Some font styles, graphics and linearity are repeated here, which helps to connect the elements together and achieve the desired effect. If the designer suddenly decided to use some pink drawing elements with bold lines somewhere in the middle, there would be no question of any connection. But she decided to use a small size for the text, minimized the color gamut, and kept the graphic elements elegantly simple, so the design came out well.
When designing, write down all the information about the fonts, lines, colors, etc. used, and try to reuse them to bring your layout together.
8. Don't Forget White Space
To offend white space, it is enough to call it "empty space". The void suggests that it must be filled with something, and therefore it does not "do its job" properly. But it's not the same.
When white space is used purposefully, it helps to increase the crispness and clarity of your design: when the heavier and more intricate parts of a composition are balanced with white space, your design begins to breathe.
For example, take a look at the design done by Cocorrina. White space helps to achieve a balance between image, texture and text, which gives the design a sophistication and purity.
So what's the best way to use white space?
Reduce the scale of graphic elements. This will allow you to create more white space around the central elements without going beyond the original design. To illustrate, take a look at Serafini Creative's recipe postcard design, where key elements are purposefully scaled down to create a beautiful frame of white space.
Don't try to fill in all the white space. As already mentioned, white space is not empty space, it serves a purpose, so don't try to fill every bit of it.
An example is a website design by Creative Web Themes that uses a single image to present a product, a bold headline, two small lines of text, and a link to more information. With this simple layout and plenty of white space, each element has its own territory and can breathe, allowing the design to look neat and have the right effect on the viewer.
When creating a design, always ask yourself if all the elements are 100% necessary. Is all this text necessary, is a bright blue title required, are all 3 images necessary? By removing unnecessary particles from the layout, you can create a more precise design that will benefit from white space.
9. Arrange design elements
When creating a composition that includes many objects, don't randomly place them on the page, because lining up elements is a quick and easy way to turn your design into candy.
Can't build objects? Canva can fix this problem in seconds with a dedicated, automatic and very handy tool. Just drag and drop an element around the page and Canva will align it with other design objects and automatically place it in the right place. Magic!
Take a look at this perfectly lined magazine design by Huck. Thanks to the clear construction of the elements, the design looks distinct and precise, it is very easy to read and pleasing from an aesthetic point of view.
Consistent and precise alignment of elements will also help you build a certain order among many objects. So, if you're using a lot of images, text, and/or graphics, alignment should be your best friend.
The ability to apply alignment when working with text is especially important. There are many ways to do this, but one of the best is left alignment, as for most viewers, this option is the most convenient for reading and understanding what they read.
10. Divide your design into thirds
The rule of thirds is a simple method by which designers can divide a layout into 9 equal parts. Where the vertical and horizontal lines intersect are the focal points.
Designer William Beachy decided to play with this rule in his work (example below). Its design looks spectacular and attracts attention due to the fact that at each intersection there is a certain focus point. Beachy also notes that "When you place objects not in the center of the design, but on its periphery, the picture becomes alive and interesting."
Using the rule of thirds will help improve the composition of your design, as it is one of the quickest and easiest ways to place and structure elements.
If you want to use the rule of thirds in your design, it's a good idea to start with a grid. The grid will allow you to line up the elements more consistently and see where the focus points should be on the layout. You can watch the tutorial on how to use Canva's markup tool to help structure and organize your designs.
If, after hours of working on a design, you finally find it effective, try to break it down mentally and see the deep structure. Is there a division into thirds? Or is it based on other markup? Either way, you can look at various markup examples and draw inspiration from them.
Address to the reader
When creating a composition, you should pay attention to many things. If you are still a beginner designer, you will most likely have to put in a lot of effort and spend a lot of time trying to organize and rescale objects, then re-layout them again, etc., but this is normal.
Do you have any tricks for working with composition? Or maybe you know of any designs with high performance composition? Either way, feel free to share your thoughts and ideas on this in the comments!
It's time to talk about the basics of composition seriously. Agree, modern highly intelligent cameras can correctly determine the exposure pair and focus. However, the questions of what to include in the frame and what not, from what angle and at what angle to shoot and how to arrange objects in the frame relative to each other - even the smartest technique will not answer. But it is precisely the compositional solution that makes the image figurative, fills it with meaning and emotions. So how do you build it - a good composition?
The word "composition" comes from the Latin "composition, composition, arrangement" and means the combination of individual elements into a single harmonious whole. The task of creating a "harmonious whole" for a novice photographer may seem overwhelming. It requires a sense of proportion and good taste, an understanding of the basics of the psychological perception of visual images, a rich personal emotional experience. And in general professionalism of the designer, at least. However, knowledge of simple rules helps to “build” a frame much easier and more interesting in any situation and to any “user” of the camera.
golden ratio
For many centuries, artists have used the golden ratio to build harmonious compositions. This proportion intuitively found by the masters, by the very fact of its existence, evokes positive emotions in the observer. The golden ratio is the division of the segment C into two parts in such a way that its larger part B is related to the smaller A in the same way that the entire segment C is related to B (i.e. A:B = B:C). This ratio is approximately 5:8.
The proportion of the golden section can be expressed in different spatial forms. The simplest option is a rectangle divided into two parts in this proportion. Another solution is diagonal. This rectangle can be rotated however you like, but if you compose your frame so that three different objects are located in its sectors, then the composition will look harmonious. The simplest and most expressive way to use the golden ratio is the popular rule of three thirds. The frame is divided vertically and horizontally into three equal parts. The result is nine sectors.
Usually novice photographers put everything in the center of the picture: whether it's a face, a figure or a horizon line that divides the frame into two equal halves. In principle, this is possible. But only when it is a conscious artistic device. Otherwise, the photo turns out to be static, lifeless. The rule of three thirds exists just for this, to add dynamics to the photo, to breathe life into it. Any surface is best placed along the lines in a ratio of 3:5. That is, the smaller part should occupy slightly more than one third. Although for convenience they talk about thirds. For example, you can put the sky in the upper third of the picture. In the bottom two - the ground. The picture will become solid. Or vice versa - to increase the presence of the sky, to give an "air perspective". The picture will have depth and lightness. Thus, the photographer controls the mood of the viewer.
In addition, at the intersection of vertical and horizontal lines, so-called "nodes of attention" are formed, they are indicated in the figure. The psychology of perception is such that it is at these points that a person is most pleased to see objects or elements. The gaze stops here regardless of the frame or picture format. Therefore, it is best to place important objects of the picture in these “nodes of attention”.
The next important rule is the left hand. It is natural for most people to look first at the top left corner of the image, sliding their eyes to the bottom right.
The strip from the upper left corner to the lower right is the so-called "passing zone". Everything that is located in it is of secondary importance, and, in addition, there is a clearly defined direction of movement from top to bottom. Accordingly, what is located in the upper right and lower left corners of the frame has a significantly greater semantic weight for the viewer. In accordance with the rule of the left hand, if you need to highlight, for example, a road in a photograph, then it is better to start it from the lower left corner to the upper right. Thus, on the path of natural movement, from left to right, the eye will “stumble” over the road boundary. But it is worth "mirroring" the photo, and the road will simply be lost in the picture, the eye will not perceive it as an important element, it will slide along it. This example clearly demonstrates not only the effect of the left hand rule, but also such a feature of human perception as asymmetry. A frame and its mirror copy are always perceived differently.
PICTURE 1.
The first advantage of the picture is that it is voluminous, it has a perspective. Banks of the same size are differently removed from the viewer. Therefore, the distant seems smaller, in addition, it is not in sharpness - all together this creates a feeling of depth. There is a diagonal, quite peculiar. It is read just according to the rule of the left hand: the eye slides over it and rests on the apple. Therefore, the feeling that it is, but it seems that it is not. Moreover, the diagonal lined with the bottoms of the cans has one direction, and the diagonal of the lids has another.
In addition, banks create rhythm. It would seem, what is the rhythm of the two elements? But if you look closely, you understand that the feeling of rhythm is created not by “whole” cans, but by their paired elements: lids, bottoms, illuminated inclined parts of the can. The latter are also supported by the right side of the front bank. Although it is asymmetrical and acts as an antagonist, it nevertheless participates in the creation of rhythm. Supports rhythm and apple, it compensates for the lack of a third element in the sequence. In addition, the apple is located close to one of the "nodes of attention".
The central semantic part of the photo is a light stripe in the jar in the foreground. Despite the fact that it is not pronounced as a line, nevertheless, this play of light attracts the eye. Why? The answer is simple: it practically coincides with the line of the golden section, and the bright spots along the edges are located in the “nodes of attention”.
PICTURE 2.
Surprisingly simple, but emotionally interesting solution. The main subject of the picture divides the frame approximately in proportion to the golden ratio. Tomatoes riding a zucchini. A rhythmic pattern is clearly visible - created by tomatoes located on a zucchini. Perhaps we can say that the rhythm is emphasized by highlights and shadows. The rhythm is somewhat broken by the red wheel, but this attracts the eye, moreover, a couple of tomatoes and the wheel are located on the vertical axis of the golden section. Additional dynamics of the picture is given by a slight slope of the upper part of the zucchini, emphasized by a light stripe. The plot of the picture is based on the relationship of three groups - a zucchini, a tomato with a wheel and three tomatoes united by rhythm. Some heterogeneity of the background, combined with a reflection in front of the zucchini, gives the image depth and versatility. And, finally, the barely discernible vertical line of the background fold, dividing the frame also in proportion to the golden section, completes the emotional impact on the viewer.
SHOT 3.
The first thing that catches your eye is the shelf, which divides the frame horizontally approximately in a proportion close to the golden ratio. The rhythm of seven homogeneous objects - pears is clearly expressed. The rhythm is enhanced by the panoramic aspect ratio. The picture is clearly balanced, almost symmetrical. The location of the pears gives dynamics to the picture. The main emotional mood is created by two neighbors of the central pear. They seem to be in the "center of communication." Most of all, the pear “catches” the eye, which stands out for its orientation, creating a single, clearly defined line that crosses the diagonal from the upper left corner to the lower right (left hand rule). The neighbor on the right and, in opposition, the left neighbor of the central pear sluggishly correspond with it with a slight slope. The nature of the image is given by light spots that emphasize the texture and create versatility even in the minimal spatial depth in which this composition was created.
Composition tools
Now about some means of composition. Lines are one of the most expressive. With their help, it is easy to control the audience's attention and mood. Firstly, the lines work on the depth of the image, creating a sense of three-dimensionality. Secondly, they lead the eye towards the horizon or compositional center. It is curious that different lines are perceived differently: curved ones calm, broken ones act as an irritant, vertical ones convey greatness, strength and power, horizontal ones convey calmness and serenity, and diagonals bring dynamics. Moreover, this effect is preserved not only for the lines that we really see - the borders of the road, pillars, the horizon line, but also for imaginary ones. For example, the direction of a look or a gesture. A shot in which lines come out of the corners of the frame looks advantageous.
The second composite means is a stain. This is any object of the picture that has more or less clear boundaries. And these are not only objects, but also shadows and highlights. They can easily play an independent role. So stain. It can be color or tonal, and with its help it is easy to highlight an important object and determine the semantic center of the composition. In addition, depending on the size of the spot in relation to the entire image, you can create a feeling of large space, emptiness, loneliness, or, conversely, tightness and bustle.
The third important tool is rhythm. This is a harmonious alternation of uniform or similar geometric shapes, spots and lines. Not only trees in the park or lampposts along the road can build an interesting rhythm, but also apples on the market stall, houses on the street, even people in the same clothes. The more monotonous the rhythm, the calmer the composition. Ragged rhythm will make the photo expressive. A rhythmic pattern with decreasing dimensions sets the direction, creates perspective in the frame and often fills with movement.
Since we're talking about the geometry of the shot, here's another trick that allows you to create an interesting composition. Try to arrange objects in the frame so that they are at the vertices of an imaginary triangle or are inscribed in it. Now experiment. Depending on how your triangle turns out, that will be the mood of the photo. The feeling of stability and instability, movement and static, sliding and taking off - all this can be conveyed with the help of "triangular" positioning in the frame. And remember about the asymmetry of perception.
And count to three. Such a number of basic semantic elements is optimal not only in photography. It is good to count up to three both the objects themselves that ended up in the viewfinder and their semantic groups. We can count, for example, one, two, three people, four, five - trees, six - sky, seven - clouds, or we can: one - people, two - trees, three - sky. But in any case, three is a harmony that is easily perceived and affects the viewer.
Equilibrium
Just like the shape and arrangement of the "triangular" composition, we can talk about the balance of the picture as a whole. Most often, three parts of the picture are meant - right, left and central. There are two types of snapshot equilibrium: formal and informal. Formal balance is achieved by geometric symmetry to the left and right of the optical center of the image. The composition, balanced in this way, emphasizes the dignity, stability and conservatism of the image. You can achieve balance in a different way if you place elements of different sizes, shapes, color intensities at different distances from the optical center. In a similar way, balance is achieved on impromptu swings, with a massive adult sitting on the short "shoulder" of the crossbar, and a small child on the long one. At the same time, they are mutually balanced. This is an informal balance. It always makes a photo imaginative and emotionally rich.
Finally, don't forget the air. There are very interesting frames filled to the limit, where there is no air at all. But for such pictures you need to have considerable skill. As a beginner photographer, it's best to let the image breathe. The air rule, like everything we've talked about, is pretty simple: you need to leave free space in front of a moving object, whether it's a car, a running person, or a glance.
And one more rule, the last one. Everything we talk about in this workshop, you need to know and be able to use. But in no case do not take it as a dogma. Many of the best shots in the history of photography were taken in violation of the rules.
SHOT 4.
In this image, the golden ratio is also formed by light spots. This is a horizontal division. In addition, the line formed by the left side of the tall vase also divides the image vertically in a ratio of 3:5.
Despite the fact that there is nothing triangular in the frame itself - it is formed by parallelepipeds and circles, here, as in the previous photo, you can find a triangle. Its main pinnacle is a tall blue bottle.
The diagonal, which was previously read in vessels of different heights and inclinations of glasses, was almost lost due to a change in angle. To emphasize it, to add dynamics to a rather calm, balanced shot, the photographer added a dark ball and pebbles. They prolong the lines and make it more pronounced.
PICTURE 5.
The picture was taken vertically. This emphasizes the vertical lines of glass objects and gives additional harmony. 
An obvious diagonal is visible from left to right. It is created due to the different growth of vessels, and in addition, it is supported by the direction of the glasses, temples and the leaf axis.
All this, moreover, constitutes the right side of the triangle. The left side is formed by the left side of the bottle, the bottom - bottoms, lined up almost on the same line of vessels. A right-angled triangle, standing solidly on a plane, gives the impression of stability and stability. In many ways, light spots help this feeling. The line between them divides the picture horizontally in a ratio of 5:3. In illumination, it should be noted, there is a conscious or unconscious correlation with images familiar to human consciousness. Illumination colors are associated: orange - with the earth, and blue - with the air.
The second triangle, isosceles, is formed on the left - by the roundness of the sheet, on the right - by the bow. Moreover, the ovality of the sheet correlates with the roundness of the lenses. The glasses and the leaf seem to be having a conversation. Aim for one point.
