Composition is a combination and combination of various parts into a single whole in accordance with an idea.
What is important in composition: integrity, contrasts, novelty, subordination of all means of composition ideological concept, the ratio of the image to the edges of the sheet, the choice of format and frame.
Law of Integrity- this is when the work is perceived as a single and indivisible whole. Everything is united by one meaning, one light, is in one environment. That is, it is bad if the work is perceived as the sum of several independent parts. Nothing should be random. Well, when nothing could be added or removed.
"The Appearance of Christ to the People" Ivanov
The law of contrasts.
Contrast is important in the composition, with its help you can highlight the main thing, attract the attention of the viewer. The strongest contrast is the compositional center of the picture. Contrasts are different: large-small, light-dark, b&w-color, round-square, flat-volumetric, soft-sharp, horizontal-vertical.
Without contrasts of light and shadow, contrasts of shapes, sizes, contrasts of colors, a person will not see either form or volume. There will be no compositional center and everything will merge together on a sheet. It will not be interesting for a person and it will not be possible to consider the picture.
That is, for example, in absolute darkness or in very weak light, a person sees nothing, neither volume nor form. no color. Or if a green circle is placed on green background, then the person will not see anything either. If, for example, a voluminous white gypsum ball on a dark background is illuminated evenly from all sides so that there is neither shadow nor penumbra, then a person will perceive the form, but not the volume. These examples show how important contrasts of tone and color are in life.
In "The Girl with Peaches" by Serov, on a light background - a swarthy silhouette of the face. This is a contrast.
A contrasting psychologically dirty worker, crouched on the earthen floor of the workshop, next to a richly and magnificently dressed factory owner, looking down at the worker, in Ioganson's painting “At the Old Ural Plant”.
The contrast is also expressed in the opposition of warm and cold colors or in combination additional colors- red with green, blue with orange, purple with yellow, white with black. Is it true that the darker the night, the brighter the stars?
"Starry Night" Van Gogh
But in the illustration "Elephant and Pug" the contrast of sizes is perfectly visible. The elephant against the background of a tiny pug becomes even larger.
"Elephant and Pug"
The plot-compositional center. The center of the composition is the part that clearly expresses main idea plot, initially attracts the eye of the viewer, the remaining parts obey the main idea, the eye ideally goes from the compositional center further “wandering” from element to element. If there is no compositional center or there are too many of them, then chaos is formed and the viewer “goes crazy”, not knowing where to look.
On the first work there is no compositional center, everything is torn, on the second, the compositional center is clearly visible.
The plot-compositional center can be expressed through tone or color contrasts, contrasts of sizes and shapes. The plot-compositional center must be.
The landscape has compositional center- it's a bridge. The contrast of light and dark, the contrast of colors.
But the icon does not have a compositional center.
Rhythm.
In art, the rhythm is not rigid, not mathematically precise, it implies "interruptions", accents, emptiness.
Rhythm is manifested in linear, tonal and color contrasts. They affect the viewer's perception of the picture (mood), give a feeling of peace or vice versa of fear, movement or peace.
The alternation of elements in the composition makes the viewer think, "crawling" through the space of the canvas with his eye from one element to another, looking at it, arouses interest.
Rhythm also contributes to ordering, organizing the entire plane of the picture, its integrity.
Bryullov in the painting "The Last Day of Pompeii" with the help of intersecting rhythmic lines creates the impression of chaos, confusion reigning in a huge crowd. In terms of rhythms, architecture follows the movements of people. The rhythm of light and shadow is also used here. This rhythm creates a feeling of tension.
"The Last Day of Pompeii" Bryullov
The rhythm of the stroke is also able to create the right mood. For example, in the portrait of Frans Hals "The Merry Drunkard", the rhythm created by the strokes serves to characterize a person. The strokes on the white collar create the rhythm of an open fan. Energetic, different lengths, broad strokes dark color on the sleeve make the contours of clothing uneven, wavy. On the chest, from the collar to the waist, there are thin long strokes that create a vertical rhythm. All rhythms of clothing are multidirectional and create the impression of mobility, disorganization, which are characteristic of the character of this cheerful person.
The Merry Drunkard by Frans Hals
If you need dynamics, then you do not need to make a plot and compositional center in the very center. If, on the contrary, you need complete peace and tranquility in the picture, then this is possible. It is also important that there be balance, air. A good composition is one from which nothing can be taken away and nothing can be added to.
Symmetry- the balance of parts in terms of mass, tone, color and even shape. Often one part is almost a mirror image of the other. IN symmetrical compositions most often there is a pronounced center. As a rule, it coincides with the center of the picture. The symmetrical construction of the composition conveys a state of rest.
Asymmetry opposite symmetry.
Here balance is achieved through the opposition of large and small forms, contrasts of dark and light, bright and muted in color.
Sometimes in such a composition, the balance is weakened or completely absent.
In the painting "Expanse", running girls create the impression of dynamics. The composition is asymmetrical, but balanced. Wholeness and balance are created by the alternation of light figures with elements of the landscape.
"Expanse" Daineka
The location of the main on the second spatial plan. Sometimes the main thing actor or the group is placed in the composition in the background, while the foreground serves as an approach to them. Other spatial plans perform an additional function. Together with the first plan, they create an environment, an environment for the main action, form its “decorative frame”, one way or another connected with what is happening in the background.
"Allegory of Painting" by Jan Vermeer of Delft
portrait location. If you are working on psychological portrait, create an interesting composition. Suppose a person is in thought or sadness, place him on the edge. If this formal portrait, center the shape.
Novelty. Will it be interesting for you to look at the ordinary, at what has become familiar for a long time and does not cause new emotions and impressions? An artist is one who finds something new even in the ordinary and shows it in such a way that the viewer would be interested. Despite the fact that we have seen the works of great masters many times different eras, they excite us every time with their ageless beauty and harmony.Those works based on a template or scheme are not new and are not interesting.
Are you interested? 
But the composition of David's painting "The Death of Marat" was a real discovery due to the unexpectedness, unprecedentedness and courage of the decision.
The law of the ratio of the edges of the picture to its plane.
1) an object depicted on a uniform field close to the “frame” is perceived as lying close to the plane of the “frame” or even partially merged with it.
For example, here both the tree and the pillar in the foreground merge with the edges of the sheet.
2) an object located not close to the "frame", and especially in central zone pictures, perceived as lying in the depths;
In the next picture, the space is further aggravated by the perspective of the road.
3) the intersection of distant and secondary objects (landscape) with the edges of the sheet is neutral. The intersection of foreground objects and figures with the edges of the picture, especially the lower edge of the picture, always carries some kind of load.
For example, in Rembrandt's painting "David and Uriah", Uriah moves forward, "leaving the picture space."
4) motion or static picture.
On a flat, uniform field bounded by a “frame” where neither heaven nor earth are marked, an object depicted in the upper part of the field is perceived as falling, and in the lower part - lying on a horizontal plane.
falling objects
lying red triangle
The sloped segmentsusually seem to go into the depths.
Receding into the depths
An important aspect is the verticals, horizontals and diagonals in the picture.
Verticals and horizontals in the image together with a rectangular frame create even more stability.
Rest transfer rule:
- if there are no diagonal directions in the picture;
- if there is no free space in front of the moving object;
- if the objects are depicted in calm (static) poses, there is no climax of the action;
- if the composition is symmetrical, balanced or forms simple geometric patterns (triangle, circle, oval, square, rectangle), then it is considered static.
Oblique directions in interaction with verticals and horizontals emphasize instability.
Motion transfer rule:
If the picture uses one or more diagonal lines, then the image will appear more dynamic;
- the effect of movement can be created if you leave free space in front of a moving object;
- to convey the movement, one should choose a certain moment of it, which most clearly reflects the nature of the movement, is its culmination.
The feeling of movement can be achieved by using blurred background, blurry, fuzzy contours of objects in the background.
From the format elongated upwards, there is a feeling of harmony, sublimity.
For a format elongated in width, “open” is characteristic.
Formats in a circle and a square are perceived as static. And it is much more difficult to compose images in them.
It is also important to remember the thickness of the we and her color. This will also affect the overall perception of the work.
The most common types of frames are rectangular, round and oval.
Pleasant creativity
APPLICATION
The appendix contains assignments for practical work on the basics of composition on the dependence of the emotional assessment of the form on its objective properties: dimensions, geometric characteristics, orientation of the form relative to the horizontal plane, lightness, color, texture, dissection of the form and other properties discussed in section 1.
Task 1. Silhouette and field
Subject: The pattern of equilibrium as a means of organizing elements into a single sustainable system(clause 1.2.1).
1. Draw any regular geometric figure in a square so that the balance of the background and figure is maintained: dark background - light figure; light background - dark figure (Fig. 19 a).
2. Disturb the balance of the background and the figure: the figure tends to take a place behind the plane of the square. Two options - on a dark and light background (Fig. 19 b).
3. Break the balance between the background and the figure: the figure looks small, lost in the background. Perform two options (Fig. 19 c).
Note: the size of the squares for arranging figures is 16x16 cm.
Material:
Task 2. Main - secondary
Subject: Organization of dominant relations of formal elements of the composition (clause 1.2.2).
Task execution sequence:
Build three compositions, in each of which to achieve a dominant compositional role: 1) a larger element, 2) a smaller element, 3) a zone of space - solely due to various ways their formal compositional organization on the plane (Fig. 20, 21).
At the second stage of work in one of the resulting compositions, without changing its general compositional solution, it is necessary to shift the active role of the dominant element to the opposite element (for example, from a smaller to a larger one or vice versa) by changing the internal characteristics of the compositional elements (tone, texture, graphic structure).
Rice. 19. Silhouette and Field:
a) the balance of the background and figure. Lightness as an objective property can correct our emotional assessment of the size of the form. Through the illusion of sight, the lighter the form appears larger the lighter it is. Of two equal figures, the white appears larger than the black. And the mass is greater in that of the forms that is darker;
b, c) violation of the balance of the background and the figure
Rice. 20. Organization of dominant relations of formal elements of composition:
and most importantly - big element;
b) the main thing is a small element;
c) the main thing is a zone in space
Rice. 21. Organization of dominant relationships
formal elements of the composition:
a) the main thing is a large element;
b) the main thing is a small element;
c) the main thing is a zone in space;
d) changing the main due to the internal characteristics of the element
Note:
compositions are performed using five or seven elements, all characteristics of which must remain constant in each composition;
the organization of the plane as a two-dimensional compositional space is carried out with the active use of the concept of lines of force and force fields, as well as positive and negative space;
in each composition, the main element should be in different zones of space.
Material: A-3 sheet format, white and black paper, PVA glue.
Task 3. Comparison of forms that are emotionally equal and unequal in mass
Subject: The dependence of the emotional assessment of the mass of the form on its objective properties: dimensions and geometric characteristics (clause 1.2.3).
Task execution sequence:
1. Draw a set of three figures, different in geometric characteristics and sizes, but close in emotional mass assessment (that is, approximately equal in area).
2. Transform the geometric characteristics and dimensions of these figures so that the mass of each figure is estimated to be lighter, but at the same time close friend friend by emotional evaluation. Three forms should be compared with each other as close in mass (Fig. 22).
Material:
Task 4. Comparison of forms that are emotionally unequal in mass
Subject: The dependence of the emotional assessment of the mass of the form on its objective properties: dimensions and geometric characteristics (clause 1.2.4).
Task execution sequence:
1. Choose an arbitrary geometric figure.
2. Gradually, in 4 stages, by changing its geometric characteristics when equal area, convert its mass to a lighter one. By achieving different geometric characteristics, achieve a contrastingly different emotional assessment of their mass (Fig. 23, 24, 25).
Notes:
1. The figure can be divided into parts, but so that the areas of all parts are approximately the same.
2. Forms must not depict specific subjects in order to avoid the influence of the content on the emotional assessment of the mass.
inequality of figure areas after transformation;
there is no gradual transformation, a sharp transition from one stage to another;
there is no stylistic unity of articulations.
Material: sheet format A-3, colored paper, PVA glue.
Rice. 22. Comparison of forms that are emotionally equal and unequal in mass.
Transformation of the mass of figures into a lighter one by changing their geometric characteristics and sizes.
All figures have approximately the same area.
Rice. 23. Comparison of forms that are emotionally unequal in mass.
Rice. 24. Comparison of forms that are emotionally unequal in mass.
Transforming the mass of a figure into a lighter one by changing its geometric characteristics in 4 stages
Rice. 25. Comparison of forms that are emotionally unequal in mass.
Transforming the mass of a figure into a lighter one by changing its geometric characteristics in 4 stages
Task 5. Dividing the form into static and dynamic elements
Subject: The dependence of the emotional assessment of the static or dynamic form on its dismemberment into elements that make up a single whole (clause 1.2.5).
Task execution sequence:
1. Choose three simple geometric shapes with different geometric characteristics.
2. Dismember them statically, respecting the integrity.
3. Explode them dynamically. Formulate any dynamic state in all three figures. For example: torsion, stretching, compression, flash, radiation, wave, etc. (Fig. 26, 27, 28).
Rice. 26. Dividing the form into static and dynamic elements.
Dynamic state “compression”
Rice. 27. Dividing the form into static and dynamic elements.
Dynamic state “torsion”
Rice. 28. Dividing the form into static and dynamic elements.
Dynamic state “turn”
Purpose of the assignment: Show how the dismemberment of the form can correct its emotional expressiveness, as well as integrity.
Typical mistakes:
the figure is divided into two elements;
the direction of the dynamism of the masses in directly opposite directions, which destroys the form;
the elements are very large in relation to the whole, too independent, the form falls apart, there is no integrity.
Materials: A-3 sheet format, colored paper, PVA glue.
Task 6. Organization of the plane using similar elements
Subject: Proportions and ratios (clause 1.2.6).
Task execution sequence:
1. Choose a simple geometric figure.
2. Using various types of proportioning (arithmetic, geometric progression, golden ratio, proportional division), build a series geometric shapes connected by the obtained relation.
3. Perform composition using various kinds proportional figures (Fig. 29, 30).
Materials: Sheet format A-3; black paper, PVA glue.
Task 7. Organization of the plane with the help of meter and rhythm
Subject: Patterns of meter and rhythm as a means of organizing elements into a single stable system (clause 1.2.7).
Task execution sequence:
1. Divide the sheet into two parts. In the first part of the sheet, arrange six squares 6x6 cm in size. Draw metric and rhythmic compositions in them.
2. On the second half of the sheet, build from simple geometric shapes expressive composition. Choose one of the options:
a) based on the mutual penetration of three or more counter rhythmic rows;
b) based on a combination of metric and rhythmic series.
Examples of this work are shown in (Fig. 31, 32, 33).
Materials: A-3 sheet format, colored paper, PVA glue, ink, ink liner, scissors.
Task 8. Organization of the plane with the help of contrast and nuance relations
Subject: Patterns of contrast, nuance as a means of organizing elements into a single stable system (clause 1.2.8).
Task execution sequence:
The sheet is conditionally divided into two parts. In the first part of the sheet:
1. Complete the composition in black and white graphics by overlaying simple elements(geometric shapes) on top of each other using contrast in size and shape.
Rice. 29. Organization of the plane using similar elements
Rice. 30. Organization of the plane with the help of similar elements
Rice. 31. Patterns of meter and rhythm as a means of organizing elements into a single stable system
Rice. 32. Patterns of meter and rhythm as a means of organizing elements into a single stable system
Rice. 33. Patterns of meter and rhythm as a means of organizing elements into a single stable system
2. Perform a composition in black and white graphics by superimposing elements on top of each other using nuanced relationships in size and shape.
Contrast in area of color spots
The area contrast of color spots characterizes the dimensional relationships between two or more color spots. Its essence is the opposition between "many" and "little", "big" and "small".
Colors can be combined with each other in spots of any size. But we would like to find out what quantitative or spatial relations between two or more colors can be considered balanced and under what conditions none of them will stand out more than the other. The strength of the effect of color is determined by two factors. Firstly, the lightness of the color and, secondly, the size of the color spot. In order to determine the lightness of certain colors, it is necessary to compare them with each other against a neutral gray background. At the same time, we will make sure that the intensity of action or the degree of lightness of individual colors is different.
Goethe established simple numerical ratios that are very convenient in our case. These ratios are approximate, but who will demand exact data if commercially available paints made on different factories and sold under the same name, so different from each other? Ultimately, the eye must decide. In addition, the color areas in the picture are often fragmentary and complex in form, and it would be very difficult to reduce them to simple numerical ratios. The eye deserves more trust, but on condition that it has a developed sensitivity to color.
According to Goethe, the degree of lightness of primary colors can be represented by the system of the following ratios:
Here are the lightness ratios of the following pairs of complementary colors:
- yellow:purple = 9:3 = 3:1 = 3/4:1/4
- orange: blue = 8:4 = 2:1 = 2/3: 1/3
- red: green = 6:6 = 1:1 = 1/2: 1/2
If these data are used to harmonize the size of color spots, then it is necessary to use equivalents that are inverse to the ratio of light values. That is yellow, being three times lighter, should take up only one third of the space occupied by the complementary purple.
As shown in Figure 42-44, the following proportions are typical for harmonious ratios of spots filled with complementary colors:
- yellow:purple=1/4:3/4
- orange:blue = 1/3:2/3
- red: green = 1/2: 1/2
Thus, the harmonious dimensions of the planes for primary and secondary colors can be expressed by the following numerical ratios:
- yellow:orange=3:4
- yellow:red=3:6
- yellow:purple=3:9
- yellow:blue=3:8
- yellow: red: blue = 3:6:8
- orange:purple:green=4:9:6
In a corresponding way, all other colors can also be represented in their proportional relationship with each other.
Figure 45 shows a circle of harmonious ratio of primary and secondary colors in their spatial characteristics. It is built like this:
first, the whole circle is divided into three equal parts, then each of them, in turn, is divided in proportion to the numerical ratios of the two complementary colors:
- one third of the circle for yellow and purple is divided in the ratio 1/4: 3/4,
- another third for orange and blue like 1/3:2/3,
- and the last third for red and green is represented by the ratio 1/2:1/2.
When these proportions are found, another circle of the same size is drawn, where, in accordance with the found proportions, a color series is created according to the sequence of the color wheel: yellow, orange, red, purple, blue and green.
The color patches, harmonized in their sizes, give the impression of calmness and stability. The contrast in the area of color spots in this case is neutralized due to harmoniously composed color spots.
The system of quantitative ratios presented here is valid only when colors are used at their maximum saturation. When it changes, the corresponding sizes of color spots also change. Both factors - both saturation and the size of the color spot are closely related to each other.
In Figure 46 red and green color given in equal spatial proportions. Red and green as complementary colors, having equal spaces of their color field, create a feeling of stable, lasting harmony. But in the case when these spatial relationships are violated, irrational anxiety arises.
If in a color composition, instead of harmonious spatial relationships between colors, one color dominates, the composition acquires a particularly expressive activity. The specificity of the chosen ratios is determined by the goal and depends on the theme of the picture, artistic flair and taste of the artist.
With a pronounced contrast of colors over the area, they begin to produce a completely new impression.
In Figure 47, the red color is represented in the minimum amount. Green in relation to it occupies a huge area, and therefore, according to the law of simultaneous contrast, red, on the contrary, begins to sound stronger.
In the section on simultaneous contrast, it was found that the eye requires a complement to each given color. To date, the reason for this phenomenon has not been elucidated. In all likelihood, we are subject to some kind of universal desire for balance and self-defense. The same desire owes its special effect to the contrast in the area of color spots. Finding itself in a smaller quantity and occupying a smaller area, having fallen, so to speak, "in trouble", the color reacts, defends itself and produces relatively more strong impression than if it were used in harmonized proportions, as in figure 46. This fact is known to both the biologist and the gardener. When a plant, animal, or person, as a result of difficult living conditions, finds itself in a distressed situation, then forces of resistance awaken in the same plants, animals, and people, which, in a happy combination of circumstances, make it possible to achieve great results. If, during a long contemplation of a picture, one focuses one's attention on any color that occupies an insignificant area, then this color begins to seem more and more intense and has an exciting effect.
Thanks to the use of two mutually reinforcing contrasts, it is possible to give the picture extraordinary liveliness and the rarest color expression. Here manifests itself exceptional feature contrast in the area of color spots - its ability to change and enhance the manifestation of all other contrasts. In the section on the contrast of light and dark, we already talked a little about color proportioning. But in essence, it is only the contrast in area in the full sense that is the contrast of proportions. If in a composition based on the contrast of light and dark, a large dark part contrasts with a smaller light one, then thanks to this opposition, the work can acquire a particularly profound meaning. So, for example, in Rembrandt's painting "A Man with a Golden Helmet", the contrasting juxtaposition of a very small light spot on his shoulder with the total volume of the man's head involuntarily makes one feel the special significance of the image. In the works of Mondrian composition structures stripes of red, yellow and of blue color are holding overall dimensions canvases. And in Brueghel's painting The Fall of Icarus, the contrasting juxtaposition of the blue-green-brown color of the landscape and the small red-orange spots of the plowman's sleeve and collar interspersed in it plays a different role, ensuring the pictorial integrity of the picture. Coordinating the size of color patches is at least as important when working on painting, as well as the choice itself colors, since each color composition must proceed and develop from the ratios of color spots.
The shapes, sizes and outlines of color spots should be determined by the nature of the color and its intensity, and not predetermined by the pattern itself.
Compliance with this rule is especially important for determining color masses. In no case can the sizes of color spots be established using linear contours, because these sizes are determined only by the intensity of the colors, the nature of the color, its lightness and the strength of the impact, which largely depends on the contrasting juxtaposition of colors. If the yellow spot should stand out among the light colors, then it should take up significantly large area than when the same spot is surrounded by dark tones. A small yellow spot is enough here, since its lightness is enhanced by the environment itself.
Similarly, the ratios of all color masses should be built in accordance with the strength of their impact.
The main purpose of the rules of composition is to attract the attention of the viewer and highlight the semantic element in the photograph. human eye instinctively looks for the brightest and sharpest element in the picture.
Contrast- this is, first of all, the difference between the sections of the image in their various characteristics. It can be expressed to a greater or lesser extent and gives the photo an emotional sound. There are several types of contrast in photography:
TONE (OR TONE) CONTRAST
It represents the difference from lightest to darkest. Tonal contrast characteristic of achromatic colors. achromatic colors are shades of gray ranging from white to black. The brightest (lightest) is White color, and the darkest is black.
The emotional expressiveness of an achromatic composition depends on the scale of tones used. The composition, built in light gray tones, will look light, airy, peaceful.
The coloring of the composition, solved in dark gray tones, looks gloomy, harsh, even tragic. The strongest, most dynamic and hardest contrast is the contrast of black and white. Black and white is a classic that does not require additions. White with grey, gray with grey, gray with black - the perfect background for bright color accents.
By tonal contrast is also understood the intentional darkening of the foreground and highlighting, highlighting the rear. 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 photograph creates the so-called tonal perspective. Tonal perspective is the change in color and contrast of objects as they move further into the space of a photograph. The feeling of the illusion of space is further enhanced when foreground objects are rendered into natural color, and those in the background of the photo are rendered in shades of blue.
With the help of tonal contrast, it is customary to depict the silhouettes of people who are located in the foreground of the picture. The main subject in the frame appears dark against a bright, well-lit background. The viewer's attention is always attracted by an object whose illumination is noticeably different from the illumination of the background, or other objects in the frame. Moreover, both in one direction and in the other direction (lighter or darker). The silhouette in the photo is obtained if there is enough a big difference in the illumination of the background and the subject being photographed. For example, shooting a portrait against the backdrop of a brightly lit window or against bright light sources (shooting in backlight).
In his photographs, Carlos Gotei from Puerto Rico very organically combines both an interesting background and a "silhouette-story" line.
COLOUR CONTRAST
It implies the presence of opposite (competing) colors in the photo. This type of contrast is somewhat more difficult to use than the one we described above. But if it is applied correctly and correctly, then the picture immediately catches the eye of the viewer. Our brain is arranged in such a way that a person immediately distinguishes an image with contrasting colors from many other images.
Competing colors are easy to identify using the color wheel. If the linear spectrum of a light beam, consisting of 7 primary (red, orange, yellow, green, cyan, indigo, violet) and 5 transitional colors, is arranged around a circle, we get a color wheel. This was first done by Isaac Newton.
The first combination diametrically distant pair.
For example, yellow and blue, red and green. These matching colors are at the ends of the diameter of the color wheel. But this combination is fraught with many pitfalls. When using these colors side by side and in equal amounts, they will merge into a gray spot even at a short distance. To soften the contrast, you need to use one of them as separate inclusions against the background of the other, since color contrast works better with smaller and larger color masses.
Classic triad- colors that are located at the vertices of the triangle with equal parties inscribed in the color wheel. The combination of three primary tones (yellow, red, blue) is considered very hard. Three additional colors (orange, lilac, green) are considered more balanced, and the effect of third-order colors is even less obvious.
TIP: Paints included in the three primary colors should not be taken in equal quantities. Their saturation should also be different. Then you will get a harmonious picture, pleasing to the eye and not annoying.
similar triad. Colors that are placed next to each other in color wheel within one quarter, form a similar triad. They look great together because they have a common main color in its composition (for example, yellow), but do not create any contrast.
If you want your work to make a person feel comfortable and at peace, use colors that are next to each other. Nature itself has created such harmony. Pleasing to the eye gradients create an overall iridescent picture.
Warm and cold colors. It is worth remembering one more feature. All colors are divided into warm and cold. Warm shades include shades of red, yellow, green, and cold shades include shades of purple, blue, blue.
The work of participant Ivan777 (Ivan Sedlovsky), which won a prize in the competition on our website.
It remains for you, as a photographer, to look at the situation and determine which type of contrast in a given specific composition more appropriate. And make sure that the contrasting elements of the image resonate with its plot component.
Take more pictures and experiment.
The design layout of any site assumes the presence of a certain set of elements, from which the interface is formed).
All these elements, based on the tasks of the interface and the needs of users, should be located in the layout. It is clear that users, solving their tasks, will consistently pay attention to different elements. It is clear that there are elements more important, there are less important. To solve just this problem - managing the attention of users - it is necessary to know and be able to apply the basic rules of contrasts.
Your users:
- Too few button clicks?
- Don't see important information?
- Don't know where to click?
- Are they leaving without completing the intended action?
Read simple rules contrasts and look at your site, I'm sure you can find ways to improve your interfaces.
And so: contrasting elements on the site are able to attract more attention of users. Consider the main types of contrasts.
size contrast
Larger objects on the site are perceived by users better, they attract more attention than small ones.
An example of using size contrast is different fonts. More important information is highlighted in larger font.
In the example, the title is in a larger font, so it is more visible and readable than the rest of the text. Another example of size contrast can be seen in this same example. The target action is important, implemented by the "Yes" button, more large size than Cancel. This increases the desire to click on it. It is more correct to make failure options less contrasting, including due to the smaller size.
Color contrast
Color contrast is the difference between the brightness of colors. Contrast measures how light or dark a color is.
Contrasting color on sites is used to highlight the main action.
Pictured is the first screen. home page AskUsers site, the "Sign up" button is highlighted in red, it is in contrast to the main colors of the first screen - green, black and white. Shape Contrast
Complex objects cause more of our reaction than simple ones. On complex objects, we focus our eyes longer.If you need to focus on an object, you can make it more difficult than others, and it will definitely be noticed! 
An example of using color and shape contrasts: 
Movement contrast
Moving objects attract more attention of users and will never go unnoticed. It is effective to use animation to control the user's attention.
An example is the "bouncing callback tube" that you've probably seen on commercial sites that encourages users to click on it.
