visual art based on the concept of "composition". It provides meaningfulness and integrity of the work. Solving an artistic problem, the creator selects means of expression, thinks over the form of embodiment of the idea and builds the composition. To represent the idea, the artist needs a variety of means, one of which is the dynamics and statics in the composition. Let's talk about the specifics of static and dynamic composition.
The concept of composition
B is the leading characteristic of the art form. It ensures the unity and interconnection of all elements and parts of the work. Researchers invest in the concept of "composition" such meanings as a skillful combination of expressive means, the embodiment of the author's intention in the material, and the development of the theme in space and time. It is with her help that the author presents the main and the secondary, draws up the semantic and visual centers. It is present in any kind of art, but the dynamics and statics in composition are most tangible and significant in composition - it is a kind of tool that streamlines all expressive means, and allows the artist to achieve the highest expressiveness of form. The composition combines form and content, they are united by an aesthetic idea and artistic intent author.
Composition principles
Despite the fact that the main unifying principle of the composition is the unique idea of the artist, there are common patterns of constructing the compositional form. The basic principles or laws of composition have developed in artistic practice, they were not artificially invented, but were born during the centuries-old creative process many artists. Integrity is the first and most important law of composition. According to him, the work must have a carefully calibrated form, in which nothing can be subtracted or added without violating the plan.
The primacy of ideas over form is another law of composition. All means are always subordinate to the idea of the artist, first the idea is born, and only then does the material embodiment appear in color, texture, sound, etc. Any composition is built on the basis of contrasts, and this is another law. The opposite of colors, sizes, textures allows you to draw the viewer's attention to certain elements of the form, highlight composition center and give the idea a special expressiveness. Another immutable law of composition creation is novelty. Each work of art is a unique author's view of a phenomenon or situation. It is in finding a new perspective and new means of embodying an idea, perhaps eternal and familiar, that lies main value creations.
Composition tools
Each has developed its own range of expressive composite means. AT fine arts these include lines, strokes, color, chiaroscuro, proportions and golden ratio, the form. But there are also more general means, characteristic of many art forms. These include rhythm, symmetry and asymmetry, the allocation of the compositional center. Dynamics and statics in composition are universal means expression of an aesthetic idea. They are closely related to the existence of composition in space and time. The unique ratio of different media allows artists to create individual and original works. It is in the arrangement of this expressive arsenal that the author's style of the creator is manifested.
Types of composition
Despite all the individuality works of art, there is a rather limited list of compositional forms. There are several classifications that different grounds distinguish types of compositions. According to the features of the representation of the object, frontal, volumetric and deep-spatial types are distinguished. They differ in the distribution of objects in space. So, the frontal one represents only one plane of the object, the volumetric one - several, the deep-spatial one - shows several long-term plans and placement of objects in three dimensions.
There is also a tradition to single out closed and open compositions, in which the author distributes objects either relative to the center or in relation to the outer contour. Researchers divide compositional forms into symmetrical and asymmetric, according to the dominant arrangement of objects in space with a certain rhythm. In addition, the dynamics and statics in the composition are also the basis for highlighting the types of form of the work. They differ in the presence or absence of movement in the work.
Static composition
Stability and static have special associations in humans. The whole world around tends to move and therefore something constant, unchanging, motionless is perceived as a kind of value. Looking at the laws of composition, the researchers found that static is present in almost all art forms. Artists from antiquity have seen special art and the difficult task of capturing the beauty of some subject or object. Static compositions are perceived as emotions of peace, harmony, balance. Finding such a balance is a real challenge for the artist. To solve this problem, the artist uses a variety of means.
Static composition tools
Both statics and dynamics in the composition, simple figures in which they are the main expressive means, use a different set of forms. Statics are excellently conveyed by such geometric shapes as a rectangle and a square. Static compositions are characterized by the absence of bright contrasts, colors and textures are applied close to each other. The objects in the compositions do not differ much in size. Such compositions are built on the nuances, the play of shades.
Dynamic composition
Dynamics and statics in the composition, the definition of which we present, are solved with the help of traditional expressive means: lines, colors, dimensions. Dynamics in art is the desire to reflect the transience of life. Like statics, conveying movement is a serious artistic challenge. Since it has diverse characteristics, this problem, unlike statics, has many more solutions. Dynamics evokes a diverse range of emotions, it is associated with the movement of thought and empathy.
Dynamic Creation Tools
To convey a sense of movement, a wide range of expressive means is used. These are vertical and distribution of objects in space, contrast. But the main means is rhythm, that is, the alternation of objects at a certain interval. Movement, static, are always interconnected. In each work, elements of each of these beginnings can be found. But for dynamics, rhythm is a fundamental principle.
Examples of statics and dynamics in composition
Any art form can provide samples of static and dynamic compositions. But in the visual arts, they are much easier to detect, since these principles are basic for visual form. Statics and dynamics in composition, examples of which we want to present, have always been used by artists. Samples of static compositions are still lifes, which were originally built precisely as a caught moment of stopping the movement. Many are also static. classical portraits, for example, Tropinin, Borovikovsky. The embodiment of statics is the painting by K. Malevich "Black Square". Many genre, landscape and battle works are dynamic compositions. For example, "Troika" by V. Perov, "Boyar Morozova" by V. Surikov, "Dance" by A. Matisse.
Master class on monotype with a photo for children from 7 years old
Fundamentals of visual literacy: statics and dynamics in composition
Author: Natalya Aleksandrovna Ermakova, Lecturer, Municipal Budgetary educational institution additional education children "Children's art school named after A. A. Bolshakov, city of Velikie Luki, Pskov region.Description: work can be done with children from 7 years. The material can be useful for teachers educational institutions, additional and preschool education.
Purpose: design of creative exhibitions and interior design.
Target: creation decorative composition in non-traditional drawing technique monotype.
Tasks:
-continue to introduce children to the basics of visual literacy: visual means (point, line, spot), rules for constructing a composition (compositional center, color balance);
- introduce the concept of statics and dynamics in composition;
-to improve the skills of working in the technique of monotype, gouache;
- exercise in the work with different brushes in accordance with the task, exercise in the ability to work with the entire bristle of the brush and its tip;
- to develop creativity and imagination.
Hello dear guests! Today we are returning to the study of the basics of composition, what is it? Composition means the compilation, connection, combination of various parts and objects into a single whole in accordance with an idea, design. This is a 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.
AT previous work we found out that composition is a way of arranging objects on a piece of paper. What you need to arrange the picture so that there is not much left empty space on the sheet. To do this, we studied the location of the sides of the sheet. We learned to place the image in the middle so that everything we planned would fit on the whole piece of paper, so that there would be very little empty space above, below and on the sides. We got acquainted with the new science - the basis of fine literacy, with the rule of balance in composition.
balance in composition.
There are a lot of rules for constructing a composition, today we will get acquainted with new concepts - statics and dynamics. Difficult at first glance, the names mean a state of rest (statics) and movement (dynamics) in painting.
There is no action in a static composition. Stable, motionless, often symmetrically balanced compositions are calm, silent. In addition to the static (resting state) 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, and so on. In addition, they can be positioned in such a way that it will seem to the viewer that all this is about to fall. Dynamic ones include: a triangle and a parallelogram standing on the short side, an ellipse, a ball, a pyramid, a parallelepiped standing on its narrow side, and so on. Therefore, a composition that seeks to change its elements is dynamic, that is, it is in motion.
So, dynamics (from the Greek dynamis - “strength”) is the alternation of any elements in a certain sequence. In dynamic compositions, the elements are located along diagonal axes or are 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.
Today we will consider the dynamics and statics in the composition using the example of a color spot. The creation of any composition is necessarily work with the form. Its ultimate goal is to achieve artistic expressiveness forms. In general, the course of such work is a complex and inseparable process of shaping, the creation of which is helped by various expressive means - a point, a line and a spot.
Point-despite its relatively small size, it has a very wide range of possibilities in building a composition. Very often it is she who is the center of her entire system, the point can focus the attention of the viewer on herself. Even a single dot on a sheet can already say something, for example, about imbalance, instability in the composition. Interacting with other points, it will tell much more, create a coherent story. But everything depends on the properties revealed in the composition: location on the plane, relative size, silhouette, filling density, brightness. In this sense, it closely merges with other graphic means of constructing a composition, their artistic properties.
The point is included in a number of other visual means, making up an equivalent part of the overall composition. So artistic properties points are directly connected with the properties of line, spot and color, forming a generally harmoniously organized, graphic plane.
Already the single line itself, and not just the line as an element of the structure specific composition can give an emotional characterization. So, the lines can be called: strong, uncertain, light, restless, impetuous.
The spot has a certain characteristic of tone (darker-lighter) and, in this regard, is clearly associated with the sensation of "mass". Of course, the spots are huge expressive possibilities, and of course, they are enhanced in interaction with other graphic and color means of composition. Unlike a dot and a line, a spot tends to fill most drawing, fills the drawing with content, gives an emotional background (sadness, joy), various states of nature and much more.
Materials and tools:
- A3 sheet
- glossy paper of a smaller size (any surface that does not quickly absorb moisture is suitable - package, thermal adhesive, whatman paper)
-brushes
- jar and rag
- scissors (they are needed to cut paper to create prints)
Master class progress:
Our today's work is based on the creation of various prints of color spots, in other words, this unconventional technique drawing monotype. The word "monotype" consists of two Greek words. "Monos" is one, "typos" is an imprint. We will try to find an image in a random print, create a dynamic or static composition.
We start by applying color spots of any color to a piece of glossy paper. The ink must be applied thickly on the paper so that good prints are obtained.
Now let's create a print, set the color spot in motion. It is necessary to turn over a sheet of paint and attach and clean slate, then create a motion path. With one hand we hold a large sheet, and with the other we slide a piece of paint along a large sheet.
The paint on the leaf where it was originally applied has shifted, turning into a single smoothly flowing spot. Let's stop on this image for now and dream up. The spot is very similar to a beautiful tropical fish, it remains for us to fill the entire area of the paper with content.
We add a background, and now the fish has stopped and looks at the underwater blue reef with curiosity, it is in a state of rest.
Then we add air bubbles to the drawing and we get the impression of a smooth undercurrent, the composition has become dynamic.
Now consider the print that we got on a large sheet. Let's turn the sheet to different sides and see what the color spot looks like.
Let's consider the vertical version, it looks like a deer, we will highlight the contours of the ears, head, torso with lines.
The composition can be supplemented with a landscape in the background.
The second option for working out the imprint is an outlandish ostrich bird, it looks into the sky, there birds fly in the height under the very clouds.
Let's turn the print over again, it is very reminiscent of a swan bird, or someone from the order of goose and duck-like. Let's get to work on the background, we will use blue gouache. First, let's draw the water surface. First of all, the silhouette of the bird's figure is outlined, and then the background is painted over in a horizontal direction.
On a wet background, draw wavy lines of blue and white color in chaotic order and horizontal direction-waves.
It creates the impression of ripples on the water, which means the breeze is blowing.
Now heaven, it must be lighter color water. We use white and blue gouache, first we outline the outline of the bird.
Then we apply smooth horizontal strokes to the paper, and enter into the background Brown color. We create smooth transitions from color to color.
Draw a beak with red gouache, add some white shades.
Then the white lines enter the entrance, we decorate the bird.
Let's imagine that the wind blew harder, the waves get bigger and foam appears on them - draw it with white gouache.
By sticking the brush to the sheet, paint clouds with white. Note that both the waves and clouds are moving in the same direction.
Then, in brown with a little green added, draw a strip of land on the horizon line (where the water meets the sky). And since the wind is blowing here, we will bend the tree trunks slightly, draw them with a thin brush.
In yellow we draw the crowns of trees - brushing.
We draw one eye of the bird, as its head is turned sideways to us. Then we add red leaves to the crowns of the trees, and the work is finished.
That's what happened to my children - tropical birds.
Flock of sea turtles.
Marine fish jumping out of the water.
Proud birds from the eagle order.
Koschey and kikimora.
Sea Predator.
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 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 - 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 furnishings. 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 shapes: 
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.))
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 expressive means are used: lighting, tonality, color, point and moment of shooting, plan, angle, as well as pictorial and various contrasts.
The following compositional rules can be distinguished: 1. Transfer of motion (dynamics) 2. Rest (statics) 3. Golden section (one third).
We will consider only two types of composition - dynamic and static. 1. Static compositions are mainly used to convey peace, 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.
Consider an example: Stable, motionless, often symmetrically balanced, compositions of this type are calm, silent, evoke the impression of self-affirmation.
Now let's move on to dynamic composition. 2. Dynamics, this 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.
4 theme:
Statics and dynamics.
First, a few words about statics. Static is stillness. Sometimes it is necessary to convey static, stability, a certain calmness, etc. in compositions. Usually, only verticals and horizontals are used in such compositions. But, there are not so many such compositions where any movement would be completely absent. Therefore, we will stop here and move on to the topic “Movement”.
movement or dynamics.
Very interesting and very broad topic. What do we mean by "movement"?
Firstly, the most simple and understandable is the image of something or someone moving, for example: a person, animal, bird, car, etc. Or an image of the elements of nature: trees leaning under the wind, waves on the water, etc. .P. .
And secondly, by "movement" in composition we mean the movement of the viewer's eyes. Looking at the picture (composition), the eyes move along certain lines(directions). Even if the picture (composition) does not depict a single moving element, "movement" can still be present in it.
If the artist has thought out his composition well, then he somehow leads the viewer, directs his gaze from one element to another. And the eyes, considering the image, move in accordance with the intention of the author of the composition. The artist attracts the viewer, invites him to consider his work. Its task is to stop (surprise), hold attention, attract to its composition (picture, etc.). The gaze moves along figures, lines and spots, along rhythmically built verticals, diagonals and horizontals.
Receptions and methods of transferring "movement".
Usually, a diagonal line helps to convey movement. Most often, this line seems to be directed from the upper right corner to the lower left. Either in a straight line or along an "es-shaped" line.
Here, approximately so.
Why this way? Some deny the effect of transmitting movement in this direction. Movement can be transmitted in the opposite direction (depending on the intention and many other elements that make up the composition) and this is true. I think that this direction is used more often, simply because the diagonal is much easier to draw in this direction. True, perhaps this is true only for right-handers (?). Try to draw a diagonal in the opposite direction. Like this.
If it is not difficult to draw one line, then it is much more difficult to draw them many times in this direction than in the opposite direction (from right to left and from top to bottom).
A few examples of the organization of movement in the composition.
Rice. one. 
If the image of a moving figure is placed very close to the edge of the sheet - as in fig. 1, then the figure will somehow come out of it. And the eye of the viewer, moving in this direction, will also try to follow her. And this is where the review of the composition ends. The viewer will move on to the next work.
Rice. 2. 
Thus, if we want to delay the viewer, then it is better to turn the figure in the opposite direction. Direct as if deep into the sheet (composition).
Rice. 3. 
Or, the look can be brought back by some other element (figure, spot) - just as bright in meaning or simply pictorial bright color, tone, etc. In any case, it is better not to place the figure at the very edge, you must leave enough space until the end of the sheet. That's about it. The view now has the ability to return and look at the image for some time, and not leave after the figure
movement in the landscape.
Often in landscapes there is an image of the road in the central perspective, diagonally or in an es-shaped line. Such an element immediately gives the landscape dynamics and depth of space.
Still life movement.
Here we can talk about diagonally arranged objects. They help guide the viewer's eye from one element to another.
Movement in the plot composition.
Here there is already more variety in the ways of transmitting movement. Here both the figures and the environment around them obey the rules of dynamics and statics.
Exercise.
Based on the concepts already familiar to us: “integrity”, “contrast” (nuance) and “rhythm”, come up with a composition where there would be some kind of “movement”.
1). Abstract composition from geometric shapes. Movement can be organized in any direction (in a circle, towards the center, or from the center, diagonally, etc.)
2). Landscape with a road using perspective, diagonal or es-shaped line.
3). Still life of 3-4 items.
four). Arrange two or three figures interconnected. On the free theme(sport, work, leisure, work, children, family, etc.).
So, what is important to remember on this topic, in my opinion? This is the use of diagonals. The composition becomes more dynamic, movement appears in it when diagonal directions appear. The rhythm of diagonal directions gives activity to the composition.
*The figures used in the text serve to illustrate the text and are not an example to follow :)
