Hello dear readers of my blog. Today let's talk about statics and dynamics in composition. Last time I talked about symmetry in composition. Knowledge of such rules contributes to the successful construction of a composition in painting and in other forms of art.
Statics
STATIC, STATICITY(lat. staticus, from the Greek. statos - “standing”) - in the visual arts - the quality of rest, the balance of visual forces (see construction; style; balancing). In most cases it matches symmetrical compositions with a metric structure, characteristic of the art of Classicism. Opposite qualities- dynamism, asymmetry, rhythm inherent in the Baroque style (comparative expression).
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According to the construction schemes and the nature of the interpretation compositional solutions are of two types: static and dynamic. Static compositions convey a state of peace and balance.
Compositions built in a rhythmic combination are based on color and line, the ratio of width and distance between them. Such works can be attributed to static compositions.
In addition to the static character of the figure itself, great importance the location of these figures in the composition plays, so the lower the entire composition is located to the edge of the sheet, the more static it looks. The more symmetrical, the more static.
But any static shape can be turned into a dynamic one: a square can be placed in a corner, a box can be placed vertically, a pyramid can be tilted, etc. In addition, they can be positioned in such a way that it seems to the viewer that it is all about to fall. A composition that tends to change from the arrangement of its elements is dynamic.
Dynamics
DYNAMICS(from the Greek dynamis - “strength”) is the alternation of any elements in a certain sequence. In dynamic compositions, elements are located along diagonal axes or freely located on the plane of the picture. They more clearly emphasize the feeling of movement, a more diverse arrangement of objects, there is a bold violation of symmetry. You can observe the displacement of the contours in relation to the color spots. Color solution in dynamic works it can be pronounced and more emotional.
The dynamic ones are:
a triangle and a parallelogram standing on the short side, an ellipse, a ball, a pyramid, a parallelepiped standing on its narrow side, etc.
Fragmentary or continuous perception of time.
Stats:
ILE, LII, LSI, SLE, SEE, ESI, EII, IEESpeakers:
SEI, ESE, EIE, IEI, OR, LIE, FEL, SLIWhat is easier, what is more difficult
- It's easier for statics, harder for speakers: Fix attention on the moment of time, its possibilities and the location of objects. Briefly express the essence of the moment.
- Speakers are easier, statics are harder: Physically feel changes in the situation in real time. Make predictions about how the situation is developing and where it will lead. Describe the continuous course of events and your thoughts.
Sign meaning
Statics and Dynamics Perceive Time Differently. For statics, the perception of time is fragmented, for speakers it is continuous..The division of people into statics and dynamics is the most important thing Jung missed. Sosonics, starting from A. Augustinavichute, this gap was partly restored, but the underestimation of the sign as the most noticeable remained. It is easy to identify it in any fragment of oral and written speech of sufficient volume, regardless of the language and content of what was said.
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Speaker speech is smooth. The speech of statics consists of short fragments, separated from each other by noticeable barriers. Sometimes these barriers match the punctuation marks, sometimes they don't.
Almost all problems of socionic diagnostics are apparent. They can be identified with a simple speech analysis skill. Task number 1 in determining the type: are there barriers in a person’s speech, or are there none?
Simple exercise. By default, we consider all speakers and smoothly, from one line to another, almost without going into the meaning, not paying attention to punctuation marks, we read out a fragment of speech. If after 2-3 paragraphs everything reads smoothly and no noticeable obstacles have arisen, you have a speaker's speech. If they are, then you have a static speech.
The study of socionics should begin with the study of the difference between statics and dynamics. Society refuses to study phenomena that lie on the surface. Even experienced socionics either underestimate it, along with the rest of the non-Jungian features, or make flagrant mistakes - from simple inattention.
What is the nature of this difference? According to the hypothesis accepted in modern socionics, this is due to the peculiarities of the birth of a person. In statics, the middle phases of childbirth (2 and 3) were deposited in the minds, on which the fetus feels the contractions of the mother's womb. The extreme phases of childbirth (1 and 4) were postponed in the consciousness of the speakers, there are no contractions of the womb on them. As a result, time for statics for life is fragmented, for speakers - continuous.
You should not assume that statics do not perceive changes and see a set of static pictures. In the mind of a static, time is divided into short video clips of a few seconds. In written speech, many fragments are compressed into static phrases without verbs: "The field is flat, the ball is round." But there are also fragments of speech of statics in which there are many verbs, but there is no smooth flow of one into another. The angles often change, the subject in one sentence is one, in the next it is another.
Some people speak faster, others slower, but even if a static speaker speaks quickly, there will be pauses. best example- video performances by Alexander Nevzorov (ILE). He is often typed into speakers, but this is a consequence of the fast pace of speech. Compare with the video blog of Sergey Dorenko (LSE) - here is a speaker that speaks sedately and slowly, drawing out words. On long radio broadcasts, Dorenko speaks in a natural rhythm - and here the fluency of speech is evident.
Statics cannot follow an object without periodic frame switches in their minds. If you are a static, watch yourself and catch it. Dynamics are able to continuously observe objects and phenomena, to describe in detail what happens to them.
Sometimes they try to determine statics and dynamics bypassing speech visually, by human movements. This is the path to mistakes - you need to watch the speech, not the body.
Application in diagnostics
Determination of statics or dynamics is the most important part of any typing claim, the technological standard. Either this sign is reliably determined, or it is not worth doing diagnostics.The Model A standards that most socionics adhere to ignore this difference. At the same time, 8 aspects included in model A contain this sign - if you find the dynamics, your further choice is between white intuition and white sensory and black logic and black ethics. The rest is excluded and occurs only in statics. This method is much more reliable than trying to determine logic or ethics, intuition or sensory from the aspect dictionary.
Static Speech Examples
Time is the end date. | You can allocate time, yes. | Speed it up to do something interesting. | Compress I understand how to slow down probably | do something uninteresting. — SEE
Time is something that no one can control! | It flies forward like a ray outer space. | It is difficult to manage time directly, one must create such an environment around oneself in order to slow down the passage of time, | i.e., you can influence indirectly. — EII
I usually fall in love just as quickly and with the same result with which a tank that has lost control drives into a concrete wall. | Rumble, dust, groans. | Screaming "how could you?!" from under the rubble. | Crippled all within a radius of ten meters from the epicenter. | And I, unharmed, sit in a tank tower and passionately indulge in self-abasement. — SLE
Speaker speech examples
Define the concept of "time" (as you understand it). Is it possible to control time - to compress, speed up?Time for me is inextricably linked with movement, and therefore it is sometimes perceived in different ways, either stretching or accelerating - SLI
time distance divided to speed. Time you can feel, and therefore speed up or slow down your actions in a period of time - OR
There were many listeners 15 people. At the beginning meeting, we passed the doll Masha in a circle and came up with her abilities and life path, during which she developed them and implemented. fairy tale turned out to be sad, because most of those present were women, and the girl Masha turned out to be educated, successful, wealthy, independent and scary. lonely. Concentrating on the development of her abilities, she somehow imperceptibly pushed children, her husband, lover (about parents there was no talk at all) ... - EIE
What should not be mistaken for static
The presence of dots and other punctuation marks in the text. Some speakers put them in because they're supposed to be in terms of the language, and the text seems to be swallowed right through without looking at them.Slow, jerky pace of speech. If the speaker speaks slowly, it is more difficult for the observer to catch the flow of the narration, but if it is transcribed and read as text, it will be clearly revealed.
Speech fragments in which there are few semantic verbs. Usually statics use fewer semantic verbs than dynamics, but the latter do not always need to use them all the time. At the same time, a smooth, dynamic manner is preserved.
What should not be taken as dynamics
Description of the process unfolding in time. Both statics and dynamics have to describe them in the available means; in this case, the static describes the same event through a set of short fragments; speaker - by continuous narration.Long complex sentences. Declarative statics(LSI, SLE, EII, IEE) tend to use such, but within these sentences one can see barriers and boundaries between fragments.
Fast pace of speech. If the static speaks quickly, it is more difficult for the observer to break his speech into semantic fragments, but if it is deciphered and read as text, the gaps between them will be revealed.
Based on the book
Lesson 1. Any picture begins with the construction of the composition.
And in order for your photos to look harmonious and competent, you need to study its basics.
Fundamentals of composition.
Statics and dynamics in composition.
First a little introduction
What is composition?
Composition (from Latin compositio) means composition, combination of various parts into a single whole in accordance with an idea.
This refers to the thoughtful construction of the image, finding the ratio of its individual parts (components), which ultimately form a single whole - a complete and complete photographic image in terms of linear, light and tonal structure.
In order to better convey the idea in photography, special means of expression: lighting, tonality, color, point and moment of shooting, plan, angle, as well as visual and various contrasts.
Knowing the laws of composition will help you make your photographs more expressive, but this knowledge is not an end in itself, but only a means to help you achieve success.
The following compositional rules can be distinguished:
transmission of movement (dynamics), rest (statics), the golden section (one third).
The methods of composition include: the transfer of rhythm, symmetry and asymmetry, the balance of parts of the composition and the allocation of the plot-compositional center.
The means of composition include: format, space, composition center, balance, rhythm, contrast, chiaroscuro, color, decorativeness, dynamics and statics, symmetry and asymmetry, openness and isolation, integrity. Thus, the means of composition are all that is necessary to create it, including its techniques and rules. They are diverse, otherwise they can be called means artistic expressiveness compositions.
We will return to these and other questions, but
today we will take a closer look at the transmission of movement (dynamics) and rest (statics).
STATICS 
First, I will tell you what is typical for static composition, and I will show by example how to achieve this in my work.
Static compositions are mainly used to convey peace and harmony.
To emphasize the beauty of objects. Maybe to convey solemnity. Calm home environment.
Items for a static composition are selected similar in shape, weight, texture. Characterized by softness in the tonal solution. The color scheme is based on nuances - close colors: complex, earthy, brown.
The center is mainly involved, symmetrical compositions.
For example, I will make a small still life. Artistic value it is not great, and all the techniques and means of composition in it are a little exaggerated for clarity))
So, for starters, I select the items that I will use and draw a diagram of my future still life.
In principle, any object can be inscribed in one of these figures: 
Therefore, we will take them as a basis.
For my still life, I chose three objects - a cup, a saucer and, as an auxiliary object, a candy. For a more interesting composition, let's take objects that are different in size, but very similar in color and texture (as the properties of statics oblige).
After moving the figure a little, I settled on this diagram: 
The center is just involved here, the figures are located frontally, and are at rest.
Now we need to decide on the tonality of objects, that is, divide into the lightest object, the darkest, and a semitone. And at the same time with color saturation.
Having painted over the figures, and having played a little with colors, I stop at this option: 
Now, based on this scheme, I build my still life. I take pictures and this is what I get: 
But as we can see, this does not quite fit the properties we need.
It is necessary to achieve greater generalization of objects, so that they practically look like a single whole, and also the colors are closer. I am going to solve these problems with the help of light.
I use combined lighting - a combination of directional and diffused light:
a dim fill light, and a directional flashlight beam.
After a couple of frames and experiments with light, I manage to achieve the desired result.
I process it a bit in FS and here is the result: 
As you can see, we managed to create a static still life, according to all the rules:
Objects are at rest, in the center of the composition, overlapping each other.
The colors are soft and complex. Everything is built on nuance. Items are the same in texture, almost the same in color. The common lighting solution unites them and creates an atmosphere of calm and harmony.
DYNAMICS 
Now let's move on to dynamic composition.
Dynamics is the complete opposite of statics in everything!
Using dynamic construction in your works, you can more vividly convey the mood, an explosion of emotions, joy, emphasize the shape and color of objects!
Objects in dynamics are mostly lined up diagonally, an asymmetric arrangement is welcome.
Everything is built on contrasts - the contrast of shapes and sizes, the contrast of color and silhouettes, the contrast of tone and texture.
The colors are open, spectral.
For clarity, I will take the same objects, only I will replace the cup with a more contrasting color.
Again using our three figures, I build the composition, but based on the properties of the dynamics. Here's the diagram I came up with: 
Now I am working on tone and color, not forgetting that everything should be as contrasting as possible in order to convey movement in a still life.
Here is the tone sketch ready: 
Now we turn all this into reality, arrange objects, take shots.
Let's see what we have done and what needs to be changed 
So, the location seems to be good, but because of the general light, it was not very possible to create contrast, especially in colors. The items look too much the same.
I decide to use a colored flashlight to emphasize the shape and make objects contrast in color.
I experiment with blue light, choose the most successful frame in my opinion, refine it a little in FS and here is the result: 
Now everything seems to be in place. The composition is built diagonally, the objects and their arrangement relative to each other are dynamic, one might say contrasting: the saucer is standing, and the cup is lying.
The colors are more than contrasting.)) The same applies to tone.
That's like all. I specifically tried to keep all the tricks and rules to a minimum so as not to rewrite the numerous pages of the abstract here.))
If you have any questions that I have not considered here or missed, be sure to ask!
HOMEWORK
Now let's move on to the final part of our lesson - to the homework.
It will be extremely simple.
You will need to independently compose two compositions for statics and dynamics, guided by the rules described in this lesson.
To get started, select the items that are most suitable in your opinion for the intended composition, then be sure to draw up a diagram! (regular and tone-color) And then proceed to the setting of objects according to the scheme and directly to the shooting itself.
We need to take our three figures as a basis: 
If you want to complicate your task, try to use the same items both statically and dynamically.
ADVICE!
For more expressiveness
all three items are taken in different sizes - large, medium and small, auxiliary.
And also different in tone - the lightest, medium and dark.
So, as homework need to provide
two works: on statics and dynamics, as well as two schemes for them!
So using the knowledge gained and your imagination, create new masterpieces!
Creative success to you!
Lecture number 9. Composition.
Composition translated from Latin literally means the compilation, binding, connection of parts.
Composition is the most important organizing moment art form, giving unity and integrity to the work, subordinating its elements to each other and to the whole. It combines particular aspects of building an art form (real or illusory formation of space and volume, symmetry and asymmetry, scale, rhythm and proportions, nuance and contrast, perspective, grouping, color scheme, etc.).
Composition is the most important means of building the whole. By composition we understand the purposeful construction of the whole, where the arrangement and interconnection of parts are determined by the meaning, content, purpose and harmony of the whole.
A finished work is also called a composition, for example, a painting - a painting, a piece of music, a ballet performance from numbers interconnected by a single idea, the composition of metal alloys, perfumes, etc.
Composition is absent in the chaotic heap of objects. It is also absent where the content is homogeneous, unambiguous, elementary. And, on the contrary, the composition is necessary for any integral structure, rather complex, whether it be a work of art, a scientific work, an information message or an organism created by nature.
The composition provides a logical and beautiful arrangement of the parts that make up the whole, giving clarity and harmony to the form and making the content intelligible.
Without comprehending compositional construction as a means of organizing material, it is impossible to make a judgment about works of art, let alone create them.
The task of the compositional construction of a work is to distribute the material of the future work in such a way and in such a sequence, in such an interconnection of the parts of the work, that the best way reveal the meaning and purpose of the work and create an expressive and harmonious artistic form.
There are two ways of artistic vision when organizing a composition:
Paying attention to a separate subject as the dominant of the entire composition and the perception of the rest only in relation to it. In this case, the environment is seen by the so-called peripheral vision and is deformed, obeying the center of attention and working for it.
Vision as a whole, without highlighting a separate object, while any details are subordinate to the whole, lose their independence. In such a composition there is neither the main nor the secondary - it is a single ensemble.
Construction.
Basic Rules
There can be no composition if there is no order. Order determines the place of each thing and brings clarity, simplicity and power of impact.
Start by looking for a background color, it should be calm and emphasize the expressiveness of objects. Do not forget about light, correct and expressive lighting of objects.
Of the items, nothing should be superfluous. Beware of variegation. It is advisable to have no more than four primary colors in the composition. Start the layout by drawing a rectangle that defines the format of the future drawing, for example, walls with adjacent objects. Make an initial sketch of the objects in pencil. Determine the scale of the depicted objects. Determine the final ratio of colors in the composition.
Composition building
The choice of characteristic elements of the composition:
Association by homogeneous features, shape, color, texture, texture;
Identification of the most important uniformity that needs to be emphasized in the composition;
The inclusion of contrasts in the composition that create tension in it.
Compliance with the law of limitation (no more than three) in:
material,
details;
3. The basis of a living composition is an unequal triangle. The basis of static composition is symmetry. For example, in a large shop window, it is advisable to repeat color concentrations (spots) three times.
4. Grouping of elements, taking into account the fact that the selected material is not placed in a mixed pile, but combined into groups of two or three elements. For example: three candles or three items of a headset (a sofa and two armchairs).
5. Providing free space between groupings so that beauty is not lost separate parts compositions in tight arrangement.
6. Emphasizing subordination (subordination) between groups. For example, the most important elements are placed in a prominent place of honor in order to direct the visitor's eye first to them, and then to the less important (valuable).
7. The relationship between groupings and within them is achieved by a line, plasticity, and also when some elements are turned halfway to other elements and to the viewer (stage law).
8. Three-dimensionality, stereoscopicity, perspective are achieved with the help of color, size, shape dynamics.
9. Observance of optical balance by correct placement of large, heavy, dark forms relative to small, light, light ones.
10. Following the natural position of objects, as well as growth, movement, development. For example, plant material is arranged in such a way that it could grow.
11. Experiment is the key to success in creativity. Try not to stop immediately after creating the composition, try to change something.
Composition principles
Dominant principle
In order for any composition to become expressive, it must have a compositional center, a dominant, which can consist of several elements or one large one, it can also be free space - a compositional pause.
Options for organizing the dominant:
1. Condensation of elements in one area of the plane compared to their rather calm and uniform distribution in other areas.
2. Highlighting the element with color, other parameters, dimensions and shape are the same.
3. The contrast of forms, for example, among the rounded figures, there is an acute-angled one and vice versa.
4. An increase in the size of one of the elements of the composition, or vice versa: among the larger elements, there is a small one, which will also differ sharply and dominate. You can also emphasize this with a tone or color.
5. The resulting void (compositional pause) will dominate other parts of the plane, more or less filled with elements.
Two compositional centers are also possible, but one of them must be leading, and the other subordinate to the first, so that there is no controversial situation or there was no sense of uncertainty.
When organizing a dominant, it is important to take into account the laws visual perception plane - the dominant is always located in the active part, i.e. closer to the geometric center of the composition.
The principle of dynamism
To achieve expressiveness in a decorative composition, an important role is played by the rhythmic organization and interconnection of pictorial elements on the plane.
Perhaps the rhythmic alternation of various figures with a decrease or increase in any qualities (size, rotation, measure of complexity, color or tonal saturation, degree of graphic or decorative processing of the form).
Depending on the location of the figures, the composition can be static or dynamic. In the first case, the elements are arranged symmetrically about the format axes. In the second case, the following options are possible:
1. With the same motives, dynamism is achieved due to the different distances between the elements of the composition, as well as due to their thickening in some parts of the composition and sparseness in others. This happens in one parameter - distance.
2. Elements of the same motif have different sizes and are located at different distances from each other. Dynamism is achieved due to the contrast in three parameters: the distance between the elements, their sizes and rotations.
Movement in the picture is not really present, but is perceived by consciousness, being a reaction of the visual apparatus, eye movement caused by certain visual impressions. Even if the picture shows a static state, a symmetrical composition, stable and motionless, there is movement in it, because details, elements of an artistic form always express movement, their color and tone relationships, the interaction of lines and shapes, contrasts, tension cause strong visual impulses, and hence the feeling of movement, of life.
Balance principle
Any properly constructed composition is balanced. Equilibrium is the arrangement of the elements of the composition, in which each object is in a stable position. Its location is not in doubt and the desire to move it along the pictorial plane. This does not require an exact mirror match of the right and left sides.
The quantitative ratio of tonal and color contrasts of the left and right parts of the composition should be equal. If in one part the number of contrasting spots is greater, it is necessary to strengthen the contrast ratios in the other part, or weaken the contrasts in the first. You can change the outlines of objects by increasing the perimeter of contrast ratios.
Equilibrium is of 2 types:
static equilibrium occurs when the figures are symmetrically arranged on the plane relative to the vertical and horizontal axes of the format of the composition of a symmetrical shape.
dynamic equilibrium occurs with an asymmetric arrangement of figures on a plane, i.e. when they shift to the right, left, up, down.
The balance of the parts in the picture - the paramount requirement of compositional construction - means the arrangement of the pictorial material around an imaginary axis of symmetry in such a way that the right and left sides are in balance. This requirement for composition goes back, as mentioned before, to the universal law of gravity, which determines the psychological setting in the perception of balance.
The principle of harmony
Harmony provides a connection between all elements of the work - it reconciles the contradictions between form and content, between material and form, between object and space and other elements of form, bringing everything together into a single compositional whole.
When solving questions of balance in a composition, the location of the elements is important: the weight of the object depends on which part of the composition the object is placed in. An element that is in the center of the composition or close to it, or located on the vertical central axis compositionally weighs less than an element that is outside these main lines.
Consider layout examples in plane format. The item at the top of the composition looks lighter than the one at the bottom.
The object to the right of center appears heavier. This is due to the fact that the left hemisphere of the brain dominates over the right. First we see the left part of the composition, then the eye moves to the right, i.e. on the left side of the composition, it lingers less than on the right.
An object shown in a perspective dimension appears heavier than the same object in a frontal view.
When establishing balance in the composition, the shape of the object plays an important role. The correct form looks heavier than the wrong one.
Unity principle
The main principle that ensures the integrity of the work. Thanks to this principle, the complex does not look like a conglomerate of disparate parts, but like a coherent whole. Composition acts as a system internal communications, which unites all components of form and content into a single whole.
Lack of integrity Integrity in relation to the frame
Grouping principle
In order for the whole to be perceived, a certain sequence in the perception of the parts is necessary. This sequence is ensured by the grouping of related or contrasting elements.
Parts of the whole make up groups related to each other by similarity or contrast. The same principle is repeated within each of the groups (similarity or contrast), a rhythm arises that permeates through the entire work. All these groups echo each other with all their elements, so that the whole is repeated in its parts, and the part as a whole. Thanks to the grouping of elements and parts, there is a consistent perception of the parts of the whole, and at the same time the whole is perceived at the same time and as a whole.
Perception
The lines have an emotional impact on a person: the horizontal one evokes a feeling of peace, being associated with the horizon line; vertical - conveys the desire to rise; inclined - causes an unstable position; broken line - associated with unbalanced mood, character, some aggressiveness; a wavy line is a flowing line of movement, but at different speeds (depending on the direction: vertical, oblique or horizontal). The spiral line shows the rotational movement in development.
There are concepts of "sluggish line", "tense line", "dynamic line". So with the help of one line or another, a person can convey his emotional state. The expressive quality of the lines is widely used by the designer in solving compositional problems, as well as in the decorative design of the interior and household items.
Visual perception depends on the emotional impulses that occur in the eye when the gaze glides over the image. Each turn, that is, a change of directions, lines, their intersection is associated with the need to overcome the inertia of movement, they have an exciting effect on the visual apparatus and cause a corresponding reaction. The picture, where there are many intersecting lines and the angles formed by them, causes a feeling of anxiety, and vice versa, where the eye calmly glides along the curves, or the movement has a wavy character, there is a feeling of naturalness, peace.
A positive reaction occurs when the nerve cells of the visual apparatus experience a state of active rest. Some geometric structures and shapes cause a similar state. These include, for example, objects built according to the proportions of the "golden section".
Symmetry is associated with a sense of balance and is conditioned by the law of gravity. Asymmetry, i.e., violation of symmetry, causes an emotional impulse that signals the occurrence of changes, movements. Movement is a form of existence of matter, "movement is life."
The leading role of the dominant, the main area, the center of the image is associated with the features of directional and peripheral vision, due to which we distinguish details only around the fixation point. This ability, due to the uneven structure of the retina, not only makes it possible to distinguish the necessary information from others, but in an artistic compositional work it dictates the entire structure of the picture.
Rhythm is the most important means of organizing a work of art, the need to subordinate everything to rhythm in a composition is associated with a biological need. Rhythm is a form of movement and is organically inherent in matter as its property. Everything that moves, develops, functions in nature and in human activity is subject to rhythm.
Rhythmic alternation of various sensations causes positive emotions. Prolonged monotonous state or homogeneous impressions, on the contrary, depress the psyche. Thus, the need to change states, impressions, tension and relaxation, etc. inherent in the biological nature of man. Obviously, the same need underlies another phenomenon - contrast, associated with increased visual impulses in the boundary zones, the stronger the impulse, the sharper the forms contrast. Contrast is one of the most powerful expressive artistic means.
Composition types
closed composition
An image with a closed composition fits into the frame in such a way that it does not tend to the edges, but, as it were, closes on itself. The viewer's gaze moves from the focus of the composition to the peripheral elements, returns through other peripheral elements again to the focus, that is, it strives from any place in the composition to its center.
A distinctive feature of a closed composition is the presence of fields. In this case, the integrity of the image is manifested in the literal sense - against any background, the compositional spot has clear boundaries, all compositional elements are closely interconnected, plastically compact.
open composition
The filling of the pictorial space with an open composition can be twofold. Either these are details that go beyond the frame, which are easy to imagine outside the picture, or this is a large open space into which the focus of the composition is immersed, giving rise to development, the movement of subordinate elements. In this case, there is no drawing of the gaze to the center of the composition - on the contrary, the gaze freely leaves the picture with some conjecture of the part not depicted.
An open composition is centrifugal, it tends to move forward or slide along a spirally expanding path. It can be quite complex, but it always ends up moving away from the center. Often the center of the composition itself is missing, or rather, the composition is made up of many equal mini-centers that fill the image field.
Symmetrical composition
The main feature of a symmetrical composition is balance. Symmetry corresponds to one of the deepest laws of nature - the desire for stability. Building a symmetrical image is easy, you just need to determine the boundaries of the image and the axis of symmetry, then repeat the pattern in a mirror image. The symmetry is harmonious, but if any image
make it symmetrical, then after a while we will be surrounded by prosperous, but monotonous works.
Artistic creativity goes so far beyond the framework of geometric correctness that in many cases it is necessary to deliberately break the symmetry in the composition, otherwise it is difficult to convey movement, change, contradiction. At the same time, symmetry, as an algebra that verifies harmony, will always be a judge, a reminder of the original order, balance.
Asymmetrical composition
Asymmetric compositions do not contain an axis or a point of symmetry, the form creation in them is freer, but one cannot think that asymmetry removes the problem of balance. On the contrary, it is in asymmetric compositions that the authors pay special attention to balance as an indispensable condition for the competent construction of a picture.
Static composition
Stable, motionless, often symmetrically balanced, compositions of this type are calm, silent, evoke the impression of self-affirmation, they carry not an illustrative description, not an event, but depth, philosophy.
dynamic composition
Outwardly unstable, prone to movement, asymmetry, openness, this type of composition
perfectly reflects our time with its cult of speed, pressure, kaleidoscopic life, thirst for novelty, with the swiftness of fashion, with clip thinking. Dynamics often exclude grandeur, solidity, classical completeness; but it would be a big mistake to consider simple negligence in work as dynamics, these are completely unequal concepts. Dynamic compositions are more complex and individual, so they require careful thought and virtuoso performance.
Static compositions are almost always symmetrical and often closed, while dynamic compositions are asymmetrical and open. But this is not always the case, a rigid classification relationship between pairs is not visible, moreover, defining compositions according to other initial criteria, one has to create another series, which for convenience we will no longer call types, but composition forms, where the determining role is played by the appearance of the work .
Forms of composition
All disciplines of the projective cycle, from descriptive geometry to architectural design, give the concept of the elements that make up the shape of the surrounding world:
Plane;
Volumetric surface;
Space.
Using these concepts, it is easy to classify the forms of composition. You just need to keep in mind that art does not operate with mathematical objects, therefore, a point as a geometric place in space that does not have dimensions cannot be a form of composition. For artists, a point can be a circle, a blot, and any compact spot concentrated around the center. The same remarks apply to lines, planes, and three-dimensional space. Thus, the forms of composition, named in one way or another, are not definitions, but only approximately denoted as something geometric.
Point (centric) composition
A point composition always has a center; it can be a center of symmetry in the literal sense or a conditional center in an asymmetrical composition, around which the compositional elements that make up the active spot are compactly and approximately equidistant. Point composition is always centripetal, even if its parts seem to scatter from the center, the focus of the composition automatically becomes the main element that organizes the image. The value of the center is most emphasized in the circular composition.
The point (centric) composition is characterized by the greatest integrity and balance, it is easy to build, and very convenient for mastering the first professional composing techniques.
Linear tape composition
In the theory of ornament, the arrangement of repeating elements along a straight or curved open line is called translational symmetry. In general, a tape composition does not necessarily have to consist of repeating elements, but its general arrangement is usually elongated in some direction, which suggests the presence of an imaginary centerline, relative to which the image is built. Linear tape composition is open and often dynamic. The format of the pictorial field allows for relative freedom, here the image and the field are not so rigidly tied to each other in terms of absolute dimensions, the main thing is the elongation of the format.
In a tape composition, the second of the three main features of the composition is often masked - the subordination of the secondary to the main one, therefore it is very important to identify the main element in it. If this is an ornament, then in the repeated elements, which break up into separate mini-images, the main element is also repeated. If the composition is simultaneous, then the main element is not masked.
Planar (frontal) composition
The name itself suggests that the entire plane of the sheet is filled with an image. Such a composition does not have axes and a center of symmetry, does not tend to become a compact spot, it does not have a pronounced single focus. The plane of the sheet (whole) and determines the integrity of the image. The frontal composition is often used in the creation of decorative works - carpets, murals, fabric ornaments, as well as in abstract and realistic painting, in stained-glass windows, mosaics. This composition tends to open type. A planar (frontal) composition should not be considered only one in which the visible volume of objects disappears and is replaced by flat color spots. A multifaceted realistic painting with the transmission of spatial and volumetric illusions, according to the formal classification, refers to the frontal composition.
