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Statics and dynamics in 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 an image, finding the ratio of its individual parts (components), which ultimately form a single whole - an image that is complete and complete in terms of linear, light and tonal structure.
In order to better convey the idea, special means of expression: lighting, tonality, angle, as well as visual and various contrasts.
The following compositional rules can be distinguished:
1) motion transmission (dynamics);
2) rest (statics)
Composition techniques include:
1) transmission of rhythm;
2) symmetries and asymmetries;
3) the balance of parts of the composition and the allocation of the plot-compositional center
Statics and dynamics are used to express the degree of stability of a compositional form. Such stability is evaluated purely emotionally, according to the impression that the form makes on the viewer. This impression can come from both the physical state of the form - stable or dynamic, associated with the movement of the object as a whole or its parts, and the compositional (formal) number.
According to the degree of visual and physical stability, the forms can be divided into the following four types.
1) Visually and physically static forms. According to the impression they make, they are rated as extremely stable. These include: a square, a rectangle, a parallelepiped laid on a wide base, a cube, a pyramid, etc. A composition made up of such shapes is monumental, extremely static in nature.
The main types of static forms:
symmetrical shape
Metric
With slight displacement of elements
With the combination of equal elements
Lightweight top
With a slight bevel of the elements
Horizontal division
Equal arrangement of elements
With large contiguous elements
With a large main element
Symmetrical arrangement of elements
With dedicated center
2) Physically static, but visually dynamic forms, so judged by the impression of some unbalance. This assessment concerns stationary forms, directed, for example, in one direction, with broken symmetry and other properties specific to dynamic compositions.
The main types of these forms:
Form with off-center axes
Rhythmic character
Perpendicular arrangement of elements
Parallel arrangement of elements
Lightweight bottom
twisted look
Diagonal articulation
Free arrangement of elements
Extruded Features
Oblique arrangement of elements
Asymmetrical arrangement of elements
Included in open space
3) Visually static, but physically partly dynamic forms. They have a stable basis in which individual elements “move”. Often in the practice of design, such a “movement” is due to the peculiarities of the functioning of objects, the real movement of individual details in them. At the same time, their composition as a whole is static in nature. Design Case Study - Shape loom with a moving shuttle. IN formal composition- this is a visual movement in the static form of individual elements.
4) Visually and physically fully dynamic forms. They are typical of many modern moving design objects, primarily various Vehicle. Often these forms actually move in space. Their structure often changes. In compositional terms, they have an extremely dynamic, impetuous character. In formal composition, these are the so-called flexible open, and changing in structure, combinatorial forms.
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.
Static compositions are mainly used to convey peace and harmony.
To emphasize the beauty of objects. Maybe to convey solemnity. Calm home furnishings.
Items for static composition close in shape, mass, texture are selected. Characterized by softness in the tonal solution. Color solution build on nuances - close colors: complex, earthy, brown.
The center is mainly involved, symmetrical compositions.
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.
Static is an expression of peace, stability of form. Static objects that have a clear center and in which the axis of symmetry serves as the main means of organizing the form. This form is perhaps not as effective as the dynamic form. Movement is much more impressive than stillness. The static form is usually not only symmetrical (clear center), but also has a large mass. We invest in the concept of static as something necessarily heavy and large.
Movement and expressiveness can also be conveyed by showing the irregularity and instability of the composition. We are accustomed to recognize the position of rest and static. We can always tell if a body is in equilibrium. An imbalance in the position or shape of an object evokes in us a premonition of movement—we expect a series of actions.
While waiting, the form visually collapses. Of course, it is difficult to determine the outlines of a form in motion, since we usually rely on its outlines in a fixed space. Thus, a broken or erased contour can be used as an indication of movement. The form, as if invading space, is usually called dynamic. If dynamism is pronounced, it can become the main compositional quality.
Dynamics
dynamics statics composition
Dynamics is the complete opposite of statics in everything!
Using dynamic construction, you can more clearly 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.
The dynamism of the form is connected, first of all, with the proportions. The equality of the three sides of an object characterizes its relative static character. The difference in sides creates dynamics, "visual movement" in the direction of the prevailing magnitude.
Let's compare a cube and a prolate parallelepiped. The figure on the left (an elongated box) creates eye movement along the long side. Let's put the parallelepiped flat: the vertical will disappear, and with it the one-way direction. Now it is a static, “lying” volume. In order for dynamism to manifest itself, it is necessary to indicate the beginning, giving the form an orientation. A skyscraper looking up is dynamic, because we see the beginning of the form and its rapid upward movement.
A dynamic form can be characteristic of both fixed volumes ( architectural structures, machine tools), and moving (various vehicles). However, the manifestations of this property are different. The dynamic form of a racing car or a supersonic aircraft expresses the essence of the object itself, it is determined by the conditions of aerodynamics. The form of technology of the 20th century is a product of the rhythm of our time.
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This pair of means of harmonization is used to express the degree of stability of the compositional form. Such stability is evaluated purely emotionally, according to the impression that the form makes on the viewer. This impression can come from a static or dynamic object as a whole or parts of it.
Static forms according to the impression they make, they are evaluated as extremely stable (square, rectangle, cube, pyramid). The composition, composed of such forms, is monumental, static in nature. The main types of static forms are shown in Figure 13.
1 Symmetric 2 Metric 3 Slight
offset elements
4 Matching equals 5 With a slight 6 With a lightweight top
elements beveled elements
7 Horizontal division 8 Equal arrangement 9 With large elements
elements
10 With a large main 11 Symmetrical arrangement 12 With a prominent center element of elements
Figure 13 - Main types of static forms
A composition is considered static if it is built according to the laws of classical symmetry.
dynamic forms are typical of the shapes of many modern moving design objects, primarily various moving vehicles. Often these forms actually move in space. The dynamic composition is based on an asymmetric solution and some unbalance. The main types of dynamic forms are shown in Figure 14.
1 Displaced shape 2 Rhythmic character 3 Perpendicular
from the center by the axes of the elements
4 Parallel 5 Lightweight bottom 6 Curved
elements
7 Diagonal articulation 8 Free arrangement 9 Elongated members
elements
10 Inclined 11 Asymmetric 12 Included in open
arrangement of elements arrangement of elements space
Figure 14 - Main types of dynamic forms
Practical task
1 Create a static composition on a free topic using the diagrams in Figure 13 (Appendix A, Figures 10-11).
2 Perform dynamic exercises on the topics: wind, explosion, speed, tyrant, etc., using the diagrams in Figure 14 (Appendix A, Figures 12-13).
Requirements:
search options for the composition are performed in 7-10 pieces;
display the fundamental difference in the organization of statics and dynamics in the composition.
Material and dimensions of the composition
Pencil, ink, black felt-tip pen, helium pen. Sheet format - A3.
Repeat
Many natural phenomena are characterized by alternation and repetition. Symmetry is repetition. The law of repetition in design comes into play when certain elements (lines, shapes, textures, colors) are used more than once. Repetition creates a sense of order. A simple repeat consists of one repeating element. Complicated - elements of two or more types are repeated in the composition (color, pattern, lines, etc.). According to the way of organizing elements in the design, repetition can be of various directions: vertical, horizontal, diagonal, spiral, radial-beam, fan. In each case, a new character of movement appears and, accordingly, a new sound, a special expressiveness. Horizontal repetition is stability and balance; vertical - harmony, height; diagonal, spiral - active, rapid movement.
The repetition can be regular (same repetition rate) (Figure 15) and irregular (Figure 16), which is more interesting because allows the eyes to compare small changes.
Figure 15 - Regular repetition Figure 16 - Irregular repetition
Practical task
1 Compose a composition from one repeating element, choosing your character of movement (horizontally, vertically, diagonally, spirally).
2 The same, but with two or more elements (Appendix A, Figure 14).
Requirements:
There are two sketches for each task.
Material and dimensions of the composition:
Pencil, ink, black felt-tip pen, helium pen. Sheet format - A4.
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 an image, finding the ratio of its individual parts (components), which ultimately form a single whole - an image that is complete and complete in terms of linear, light and tonal structure.
In order to better convey the idea, special expressive means are used: lighting, tonality, angle, as well as pictorial and various contrasts.
The following compositional rules can be distinguished:
- 1) motion transmission (dynamics);
- 2) rest (statics)
Composition techniques include:
- 1) transmission of rhythm;
- 2) symmetries and asymmetries;
- 3) the balance of parts of the composition and the allocation of the plot-compositional center
Statics and dynamics are used to express the degree of stability of a compositional form. Such stability is evaluated purely emotionally, according to the impression that the form makes on the viewer. This impression can come from both the physical state of the form - stable or dynamic, associated with the movement of the object as a whole or its parts, and the compositional (formal) number.
According to the degree of visual and physical stability, the forms can be divided into the following four types.
1) Visually and physically static forms. According to the impression they make, they are rated as extremely stable. These include: a square, a rectangle, a parallelepiped laid on a wide base, a cube, a pyramid, etc. A composition made up of such shapes is monumental, extremely static in nature.
The main types of static forms:
- - symmetrical shape
- - metric
- - with slight displacement of elements
- - with a combination of equal elements
- - with lightweight top
- - with a slight bevel of the elements
- - horizontal division
- - equal arrangement of elements
- - with large contiguous elements
- - with a large main element
- - symmetrical arrangement of elements
- - with a dedicated center
- 2) Physically static, but visually dynamic forms, so judged by the impression of some unbalance. This assessment concerns stationary forms, directed, for example, in one direction, with broken symmetry and other properties specific to dynamic compositions.
The main types of these forms:
- - form with axes displaced from the center
- - rhythmic character
- - perpendicular arrangement of elements
- - parallel arrangement of elements
- - lightweight bottom
- - twisted look
- - diagonal articulation
- - free arrangement of elements
- - elongated elements
- - inclined arrangement of elements
- - asymmetric arrangement of elements
- - included in open space
- 3) Visually static, but physically partly dynamic forms. They have a stable basis in which individual elements “move”. Often in the practice of design, such a “movement” is due to the peculiarities of the functioning of objects, the real movement of individual details in them. At the same time, their composition as a whole is static in nature. An example from design practice is a form of loom with a moving shuttle. In a formal composition, this is a visual movement in the static form of individual elements.
- 4) Visually and physically fully dynamic forms. They are typical for many modern moving design objects, primarily for various vehicles. Often these forms actually move in space. Their structure often changes. In compositional terms, they have an extremely dynamic, impetuous character. In formal composition, these are the so-called flexible open, and changing in structure, combinatorial forms.
The means of composition include: format, space, compositional 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 of artistic expression of the composition.
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 field of the image.
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 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 asymmetric 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 center line, 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 has no 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.
With this topic, I want to open a series of lessons dedicated to the basics compositions.
After all, it is with the construction of the composition that any picture begins.
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 lat. composition) means drawing up, combining a 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 - complete and complete in linear, light and tonal order. photographic image. In order to better convey the idea in photography, special expressive means are used: lighting, tonality, color, point and moment of shooting, plan, angle, as well as pictorial 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), 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, compositional 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 of artistic expression of the composition.
We will definitely return to the consideration of these and other issues, but today we will consider in more detail the transmission of motion (dynamics) and rest (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 large, 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. We need 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 scattered light: a dim fill light, and a directional flashlight beam. After a couple of frames and experiments with light, I manage to achieve 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 tonal sketch ready: 
Now we are turning all this into reality, arranging objects, taking shots. Let's see what we got 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 objects look too much the same. I decide to use a colored flashlight to emphasize the shape and make the 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.))
