Any printing layout consists of certain elements, for example: text, photographs, illustrations, shapes and lines, color spots, various design elements, etc. The integrity of the composition depends on how well the elements are selected from each other. highlight contrast, nuance and repetition (identity). These are the basic principles of building a composition, which can be traced to one degree or another in almost every print design. Since it is practically impossible without them, they deserve a more detailed study. So, in this article I will talk about what contrast, nuance, repetition are and show where it is used with specific examples.
Contrast- a sharp difference in the elements in tone, color or size. The most contrasting can be called black text on a white background that you are reading, or vice versa - white text on a black background. All information in a layout can be divided into more important and less important, so contrast is used to make one element stand out from another or to draw more attention to some part of the layout.
Nuance- the opposite of contrast. Very weak between layout elements. It is used to complement the layout with less important information that is barely visible against the background or among other information. Nuance is often used in combination with repetition. For example, lines or shapes can be duplicated on other parts of the layout, but not so contrasting that they do not attract too much attention.
Repetition (Identity)- repetition of elements. Perhaps modified, but easily recognizable. Repeating design elements give the layout integrity and a unified design style.
All three of these principles coexist freely in one layout. Although their combination may vary in any design, contrasting elements are visible, style repetition and less contrasting details complement the layout well. Now let's get down to specific examples:
This booklet contains an advertisement for a fish product - caviar. The designer used two colors as the main ones: red (the color of caviar) and green (the color of greenery or water). The red color contrasts very well with the yellow-green. If you look closely at the background, you can see air bubbles or enlarged eggs. They are barely visible and almost blend in with the background, so nuance is clearly being used here. The red fill at the top of the layout and the red wave at the bottom are repeated on the inside. Also, the main word "fish specialty" is highlighted with a size and a white stroke, which makes it visible even on a red background.
The topic of the next flyer is some kind of apparatus for trains. Here, as in the past, you can barely see the background Railway, which is also directly related to the theme of the leaflet. The alternation of contrasting blocks makes it easy to perceive information, and also, thanks to their correctly chosen repetition, a feeling of integrity of the layout is created. Interestingly, the blocks themselves are made in a technological style in the shape of the advertised part.
This layout uses an arc or oval that extends beyond the flyer as a repeating design element. If you look closely, in the inside of the leaflet you can see the same semi-transparent and not very noticeable arcs. This is the use of nuance. The contrast is visible in how well the titles of each page of the booklet and other important information are highlighted.
So, in absolutely any layout, you can notice the use of contrast, nuance and identity. Their combination may be different, but the use of these simple laws Compositions will make your for the viewer and literate in terms of advertising.
Learn more about the laws of composition in this video:
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Contrast- this is a sharp difference in objects according to certain properties (size, shape, color, chiaroscuro, etc.), a pronounced opposite: long - short, thick - thin, large - small. Contrast - the opposition, the struggle of different principles in the composition - has always been one of the most widely used means in the hands of a painter, sculptor, architect. For centuries of history art, the theme of contrast varied, acquiring a variety of expressions depending on the nature of the work, the style of the era, and the individuality of the author. In contrast, difference prevails over similarity. The essence of a composition built on contrast is in its activity. visual impact: unlike nuanced contrast relationships are revealed immediately if they are skillfully used by the designer.
In artistic design, contrast is one of the main means of composition. If we take any composition in which there is a subordination of parts and the identification of the main thing, then in the vast majority of cases the main thing will be more contrasting in relation to the surrounding elements.
By contrast, you can enhance the expressiveness of the product. This is achieved by applying different materials(for example, in a TV set - a glass screen, a wooden box, plastic knobs and gratings, a metal edging), and due to the surface treatment of the material - a polished metal surface or a coarsely rough texture, polished wood or simply varnished. With skillful use, contrast can play a decisive role in the composition. Subject to the interests of the composition, it activates the form. In the absence of contrast, the form turns out to be inexpressive and boring.
Contrasting comparisons contribute to the sharpening of the perception of the whole. The contrast enhances, emphasizes the difference in the properties of forms, makes their unity more intense, impressive.
An illustrative example of a contrast is the relationship geometric shapes when one of them increases in size relative to the others to determine the center of the composition. Being in a certain connection with each other, such compositions represent an example of a constructive and combinatorial connection. Such exercises are special meaning and are a necessary accessory to the foundations of the composition.
When geometric elements conjugated with each other, they form something whole, harmonious, and this whole is a certain coherent composition, then this, to some extent, solves the problem of combinatorial constructions. The commonality of all participating elements suggests that the combination of these elements creates a phenomenon that we call composition, construction.
The connection of the elements of a conditional composition becomes more organic and clearer if it has a main element, around which artistic basis the rest are combined. This main element is conditionally called the center of the composition. The subordination of a detail to a complex compositionally developed form can also have its own center, but in terms of expressiveness it should be less significant than the general center. The introduction of the main compositional element and the proper subordination of the remaining parts enhances intercom details among themselves and enhances the overall expressiveness. composition center acquires special significance in the construction of conditional compositions.
Let us consider several variants of conditional compositional schemes, made by a graphic technique on a plane of geometric figures, with the help of which the interaction of motifs that determine the center of the composition is organized (see Fig.).
Harmony is closely related to expressiveness in the composition, the main task of which is to create an impression of balance, elegance and accuracy of the form image and artistic consistency of combinatorial elements. Contrast is one of the main means of composition in technology. Here it is due to the difference in structures - complex, saturated with shadows and very simple; sometimes by processing the material, when, for example, the coarse texture of a raw casting is opposed to ground or polished surfaces, then by contrasting a light, openwork structure with a heavy monolithic base. Low is opposed to high, horizontal to vertical, light to dark, rough to smooth, saturated with chiaroscuro and plastically complex to calm and simple. All these and many other relationships based on explicit differences are contrasting. The opposition of the two principles in the composition in itself makes the form noticeable, distinguishing it from others. To use contrast means to cause an internal struggle in the composition, to sharpen it and find harmony in the juxtaposition of opposites. Contrast in technology has different roots. In some cases, it is determined by the design itself, the entire layout of the product. Here the task of the designer is to develop an objective contrasting principle, and if necessary, to sharpen it, using it as a figurative means. In other cases, the basis of the form is such that the contrast does not appear in it, and it turns out to be inexpressive, boring: as professionals say, there is nothing to hold on to the composition. In these cases, the compositional technique dictates the need to introduce "artificial" contrast. For example, a geometrically simple volume is divided using contrasting combinations of color and tone, certain functional elements are highlighted, artificial contrasting proportions are created using overlay profiles dividing different color zones, etc. The latter technique is often resorted to, for example, when working on a composition Vehicle.
The use of contrast in technology is also associated with the need to create optimal conditions for the worker. The contrast should be moderate, since excessively sharp contrasts will contribute to premature fatigue, and the complete absence of contrast will create monotony, cause the worker's attention to be dulled. Color contrast (spot, background) is very widespread in the composition of industrial products. Contrasting color relationships allow you to highlight the most critical areas of the machine, the control panel, to focus the attention of the worker on the most important control systems. In view of this, when working on a project for an industrial product, contrast, like many other categories, should be considered not only in a purely compositional sense, but also from a practical point of view, in connection with certain human activities.
In many areas of design, the contrast in the composition is sometimes extremely subtle, and yet this is precisely the contrast. A very strong contrast, a combination of large and small volumes can visually destroy the compositional structure. Therefore, the degree of contrast applied is limited by the requirements of preserving the integrity of the impression. The choice of the degree of contrast is determined on the basis of artistic flair and practical experience designer and to a greater extent depends on the purpose and place of application of the industrial product.
The contrast of complex and simple structures, in contrast to the contrast of color and tone, is associated with a strong and deep saturation of the form with light and shadow. Therefore, it must be used particularly precisely and purposefully. If an error in the strength of tone cannot cause a serious loss of integrity, then an incorrectly used contrast of structures can irreparably disturb the harmony of form.
Contrast activates any form, but in order to achieve harmony, it must be supplemented with those necessary nuanced relationships, without which it can be too sharp. Paradoxically, the weakness of contrast lies in its strength. Any potent agent requires caution - its excess is destructive. Such is the contrast. Using it in the composition of a specific industrial product, care must be taken that it does not turn out to be excessive, that is, a certain degree, a measure of contrast, is observed. For contrasting elements, you can build a whole series from the smallest to the greatest degree of contrast. Take, for example, the contrast of the spot and the background. If the background is absolute white and the spot is absolute black, the contrast is maximum. But the ratio of not quite white, but a somewhat tinted surface and not quite black, but dark gray (of different tone strength) spots will also be contrasting.
For the expressiveness and integrity of a particular product, the degree of contrast is of considerable importance. For example, when a small dark spot contrasts with a large light background, the degree of contrast can be extremely strong. These are the small black knobs and other dark details on a white or off-white panel. But if all these details are greatly increased, so that the total black approaches the white area, the contrast effect will weaken, the composition may become much less expressive and less coherent than in the first case. This is explained by the fact that small dark details contrast with the background not only in color and tone, but also in size - small is opposed to large. In the second case, one of the signs of contrast disappeared, and the quantitative equality between black and white essentially removed all sharpness of the opposition.
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Let's talk about contrast today. What is it - contrast? Many photographers, especially beginners, will be surprised to hear that contrast is an element of composition. But, nevertheless, this is true. After all, contrast is not only the difference in tones and colors of the image.
Contrast as a compositional element makes the picture more expressive, more interesting and attractive to the viewer. Contrast gives the photo an emotional sound. But before understanding how contrast “works” in the art of photography, we need to understand how the concepts of “contrast” and “contrast” differ from each other.
Contrast is, first of all, the difference between the areas of the image in their various characteristics. This difference can be expressed to a greater or lesser extent. But contrast is the ability of the camera to see and capture this difference, that is, the difference between the contrasting elements of the image.
It is very important for a photographer to learn how to use this method correctly. To do this, first of all, you need to look at the picture as some kind of abstract image, forget about its specifics. Forget about the functionality of the things depicted on it. View and determine which of the types of contrast in this image, in this specific composition more appropriate. And is it really needed? The photographer needs to ensure that the contrasting elements of the image, at least in some way, have something in common with its plot component. And you also need to determine in advance for yourself whether your picture will be color or monochrome (that is, black and white or sepia tones, for example). This may affect, for example, the brightness and sharpness of image elements that are incompatible with each other.
And now let's talk about how the contrast of elements can be expressed in photographs, in what forms and forms this can happen.
tonal contrast
Tonal contrast refers to the intentional darkening of the foreground and highlighting the background. Or vice versa. Thus, the light and dark areas of the image in the photograph are compared with each other so that the picture begins to convey the depth of space, its volume. The so-called tonal perspective is created in the photograph. This technique works well in monochrome, in black and white photography. In color photographs, with the help of tonal contrast, it is customary to depict the silhouettes of people who are located in the foreground of the picture.
Colour contrast
This type of contrast is somewhat more difficult to use than the one we described above. If the color contrast is applied correctly and correctly, then the picture will immediately catch the eye of the viewer, attract his attention. Our brain is arranged in such a way that a person immediately distinguishes an image with contrasting colors from many other images. Color contrast is the choice of colors that are on opposite sides color wheel. For example, yellow and blue, red and green. Moreover, the brighter, richer the shades of these contrasting colors with respect to each other, the better. The use of color contrast is very important when working on still lifes, landscapes, photographs of flowers. Well, for example, a landscape shot of a green forest edge with a bright spot of red mountain ash somewhere in the center.
texture contrast
But what if you have objects of the same color in the frame? Well, that's how it happened. The customer wanted - yellow on yellow or blue on blue? Remember that in addition to any other contrasts, there is also a contrast of textures. Here the rule is simple: a big difference in the texture of objects, the better the shape of these objects is emphasized in the picture. And another contrast of textures is great opportunity highlight any of the necessary elements of the photo with light. Also, this type of contrast is good to use if you need to draw the viewer's attention to one or another characteristic of the object being shot. Examples? As much as you want. The wrinkled face of an old grandmother and the pink, delicate cheek of a granddaughter. Or the most delicate lily against the backdrop of a rough brick wall.
Contrast of statics and dynamics
The contrast of moving and stationary objects in the picture. For example, a lone car moving at high speed along a country highway against the backdrop of an endless field and a huge blue sky. Or a high jumper, frozen in the frame in his movement against the background of silent empty stands. Hair in motion beautiful girl. This is very complex view contrast. Not every photographer uses it correctly. Some even tend to believe that the contrast of statics and dynamics is in conflict with the basic rules and laws of composition. But if you managed to achieve such a pronounced contrast of this kind in your picture, then be sure that your work will be successful. This photograph will attract the attention of the audience and stand out from a number of works by other authors.
Semantic contrast
A very complex, perhaps even the most difficult type of contrast to use. Its essence lies in the fact that in the plane of one picture to combine, it would seem, incompatible. Well, for example, a person in winter suit standing skiing on a hot beach near the sea. Or a nude model on a crowded street big city. Such shots should always be very carefully considered. Otherwise, the viewer may take them for a sick fantasy of their author and express doubts about the health of his psyche. Semantic contrast is usually used in genre photography.
Well, and, a few words as a result of all of the above. If you think about various types contrast in your work, then your pictures will be much more attractive to the viewer. And do not forget that in one picture you can apply several of the above techniques at once.
