Basics of composition
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- Molly Hancock
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1 Basics of composition The tools for building print documents or web documents for that matter have been around for centuries. Whether you are creating a logo, a magazine layout, a brochure or a book, you should know the principles of: Dots and lines Design axis Shapes Proportion Balance Space Leonardo da Vinci, The Last Supper (c. 1495) Da Vinci s mural is a masterpiece of composition, using formal balance. Christ sits at the center, his head at eye level. Lines of perspective converge on him. 1 COMPOSITION BASICS
2 THE WHITE SURFACE of the paper is empty as we usually see it, an INACTIVE SURFACE. 2 COMPOSITION BASICS
3 A DOT, a small, point in space, is the basic element of composition. With the appearance of the dot the surface is ACTIVATED. The white paper is light; the dot is the removal of light. All 2-dimensional compositions are basically LIGHT AND SHADOW. 3 COMPOSITION BASICS
4 A DOT indicates a precise location, a meaning or intersection. We speak of meeting points, crossing points, points of interest, also sore points. 4 COMPOSITION BASICS
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6 TWO DOTS create competition for the eye. The viewer draws an imaginary line from dot to dot, forming an AXIS. When we have two dots, we have the beginning of a composition. From a semiotic standpoint, we have created meaning. 6 COMPOSITION BASICS
7 An AXIS is a line between two points. AXES are an important visual element; we organize other elements around axes, and we use axes to divide space. An axis is often implied through arrangement of visual elements. 7 COMPOSITION BASICS
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11 When we see more than two dots not in a straight line, we try to form a SHAPE, a thought process Gestalt theorists call CLOSURE. We also create movement from dot to dot. Designers exploit this sense of movement. 11 COMPOSITION BASICS
12 Renoir uses red to create a TRIANGULAR COMPOSITION. Red attracts the eye, so he spreads out the color to soften the effect. Pierre-Auguste Renoir, On the Terrace (1881) 12 COMPOSITION BASICS
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14 A LINE can be thought of as a series of dots, or as a dot that went for a walk. A line by its nature separates things on either side of it. Or it can connect two things at either end. 14 COMPOSITION BASICS
15 Lines stated or implied are elements in the DIVISION OF SPACE. How we deploy lines to divide space has meaning. ARCHITECTURE can be defined as the division of space. 15 COMPOSITION BASICS
16 16 COMPOSITION BASICS
17 A VERTICAL LINE has the characteristics of alertness, action. When we stand at attention, we stand straight up. 17 COMPOSITION BASICS
18 A HORIZONTAL LINE suggests repose, relaxation. When we sleep, we are in a horizontal position. The horizon also suggests stability, solid ground. 18 COMPOSITION BASICS
19 DIAGONAL LINES are dynamic. They suggest that something is about to happen. 19 COMPOSITION BASICS
20 Frederic Goudy, drawings for Scripps College Old Style typeface (1941) Lines conveys meaning through WEIGHT, CONTOUR, ANGLE, COLOR and TEXTURE. Scott McCloud writes that all lines carry with them an expressive potential. Typographers use the thickness of letter strokes and contrast between thick and thin to express mood and style. 20 COMPOSITION BASICS Giambattista Bodoni, Typography manual (1817)
21 21 COMPOSITION BASICS Vincent van Gogh, The Starry Night (1889)
22 The expressive lines that make graffiti graffti have been turned into fonts 22 COMPOSITION BASICS
23 We seek out SHAPES when we see lines. In this diagram, most of us would see a triangle rather than three independent angles, according to the Gestalt principles of GOOD CONTINUITY AND CLOSURE. 23 COMPOSITION BASICS
24 Shapes have meaning THE SQUARE Conservative Honest Straight THE TRIANGLE Dynamic Risky Exciting THE CIRCLE Endlessness Warmth Protection These are the three basic shapes. All others are derived from them. 24 COMPOSITION BASICS
25 The everlasting CIRCLE is a common symbol in many cultures, from Native American to the Chinese. The circle appears in nature everything from the sun and moon to the ripples from dropping a stone into water. 25 COMPOSITION BASICS Clockwise from top left: Native American dream catcher; the Earth seen from space; the Ouroboros, an ancient symbol representing self-reflexivity or cyclicality; a mandala, a spiritual and ritual symbol in Hinduism; Armenian khachkar depicting a solar disc; yin yang, traditional Chinese symbol of Taoism.
26 Triangular composition is commonly used in art and design. In the Western tradition, the TRIANGLE also symbolizes the sacred meaning of the trinity. Nicolas Poussin, Holy Family on the Steps (1648) 26 COMPOSITION BASICS
27 The SQUARE is not the most desirable shape for a photo or a painting. Grids used in design are based on the square, such as Otl Aicher s work for the 1972 Munich Olympics. A major figure in 20th century graphic design s International Style and co-founder of the Ulm School of Design (Hochschule für Gestaltung Ulm), Aicher ( ) was a man of order and planning. 27 COMPOSITION BASICS
28 1 1 PROPORTION is the relationship of width to height in any shape or composition. Proportion usually is stated as a ratio, width:height. A SQUARE, then, would have the proportion of 1:1. Leonardo da Vinci, Vitruvian Man (c. 1490). DaVinci uses the human body to derive the shapes of the circle and square. 28 COMPOSITION BASICS
29 DOUBLE SQUARE proportion is 1:2. Traditional Japanese Tatami mats are based on a double square of 3 feet by 6 feet COMPOSITION BASICS
30 4:3 Academy ratio: Citizen Kane 2.39:1 Ultra-wide screen: Bladerunner 1.85:1 Wide screen: Children of Men 16:9 HDTV: The Sopranos Aspect ratio is a category of proportion dealing with images, especially movies and television. The aspect ratio greatly affects the look and feel of a film or video. 30 COMPOSITION BASICS
31 The Golden Proportion Mathematicians such as Pythagoras and Euclid in Greece, the Italian mathematician Leonardo of Pisa (Fibonacci) and Oxford physicist Roger Penrose have studied the Golden Proportion and its properties. It is manifested in art and architecture, ancient and modern. The ratio arises naturally from the pentagram. 31 COMPOSITION BASICS
32 The Golden Proportion, like pi, is an IRRATIONAL NUMBER; its decimal place can be carried out to infinity. To form an accurate Golden Rectangle, divide a square in half. Draw a diagonal across one half, then swing that line around to align with the top of the square. Now complete the rectangle. 32 COMPOSITION BASICS
33 If you add a Golden Rectangle to a square, you get another Golden Rectangle. This is related to the FIBONACCI SERIES, in which each number after the first two is the sum of the previous two: 1, 2, 3, 5, 8, 13, 21 By adding an arc to each square, this characteristic spiral is formed. 33 COMPOSITION BASICS
34 The Golden Proportion has fascinated scientists and philosophers in part because it can be seen many places in nature, such as in the structure of the chambered nautilus. The Swiss-French architect Charles-Édouard Jeanneret-Gris, known as Le Corbusier, plotted the human form using the Golden Proportion. 34 COMPOSITION BASICS
35 The Golden Proportion and its properties can be found in nature. 35 COMPOSITION BASICS
36 The Golden Proportion is used in many works of art and architecture. 36 COMPOSITION BASICS
37 37 COMPOSITION BASICS Leonardo da Vinci, St. Jerome (c. 1480)
38 38 COMPOSITION BASICS Leonardo da Vinci, St. Jerome (c. 1480)
39 39 COMPOSITION BASICS Georges Seurat, Bathers at Asnières (1884)
40 40 COMPOSITION BASICS Georges Seurat, Bathers at Asnières (1884)
41 Joseph Mallord William Turner, Norham Castle at Sunrise ( )
42 Joseph Mallord William Turner, Norham Castle at Sunrise ( )
43 43 COMPOSITION BASICS Cary Grant in Alfred Hitchcock s North by Northwest (1959)w
44 44 COMPOSITION BASICS Cary Grant in Alfred Hitchcock s North by Northwest (1959)w
45 45 COMPOSITION BASICS
46 46 COMPOSITION BASICS
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49 49 COMPOSITION BASICS Dennis Stock, James Dean, Times Square (1955)
50 50 COMPOSITION BASICS Dennis Stock, James Dean, Times Square (1955)
51 51 COMPOSITION BASICS Dennis Stock, James Dean, Times Square (1955)
52 Spatiality Space affects our actions and interactions. It is a powerful cultural signifier. People use PROXIMITY to show intimacy or emotional distance, or a person might face someone or turn away. Dennis Stock s photo of James Dean in Times Square isolates the subject and make a powerful statement about loneliness and the city. 52 COMPOSITION BASICS Dennis Stock, James Dean, Times Square (1955)
53 Space and axes Compositions are built within a FRAME. The proportion of the frame is crucial to the character of a composition. The sides of the frame form the X AXIS (vertical) and Y AXIS (horizontal). Artists and photographers use perspective to exploit the Z AXIS, creating the illusion of three dimensions. A gentle S-CURVE achieves this. Film makers exploit the z axis through perspective, but also by moving the camera to move into the frame. 53 COMPOSITION BASICS x z y Edward Burtynsky, Nickel Tailings #34
54 54 COMPOSITION BASICS Ansel Adams, The Tetons and the Snake River (1942)
55 55 COMPOSITION BASICS Ansel Adams, Farm, farm workers, Mt. Williamson in background, Manzanar Relocation Center, California.
56 56 COMPOSITION BASICS Ansel Adams, Church and Road, Bodega, California (c. 1953)
57 Balance Designers arrange visual elements around a DESIGN AXIS using the principles of balance, formal and informal. BALANCE is the sense that a composition hangs together well and is at rest with itself. FORMAL BALANCE (top), also called symmetrical or axial balance, arranges equivalent shapes and forms on either side of a vertical design axis in the center of the composition. Each side is a mirror image of the other in shape and form. INFORMAL BALANCE moves the design axis off center and arranges visual elements in an asymmetrical design. The composition still feels balanced. 57 COMPOSITION BASICS
58 FORMAL BALANCE conveys a strong sense of unity and formality. It can seem conventional, but in the right hands, it can be exciting. 58 COMPOSITION BASICS
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61 INFORMAL BALANCE adds a dynamic quality to a composition, but it can be elegant, too. 61 COMPOSITION BASICS
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