Equilibrium in composition: types and principles

The term "composition" implies the connection of certain elements into a single harmonious whole. This concept is used with equal success both in exact sciences and in art theory in general. Equilibrium in the composition is one of the two indispensable conditions for her presence. The second is the combination of all the constituent elements of the object in a single form. Since both art, architecture and engineering strive for harmony, seeing in it their main and immutable goal, the fulfillment of these two conditions is the only true construction of the composition.

General theoretical concepts

The science of composition identifies three of its varieties, which in practice are often closely interrelated and complement each other, sometimes giving the most unexpected and multifaceted combinations. The result is masterpieces of culture. These include: frontal, three-dimensional and deep-spatial compositions.

For all the complexity that any picture, structure, or other creation demonstrates as a result of an act of art demonstrates, it must be balanced, which is primarily expressed in the visual stability of the complex of its constituent elements. In this case, it is not always about strict symmetry. The equilibrium in the composition consists in the balance of all the details (as well as the fragments composed of them) relative to the center. At the same time, the need to achieve such stability is obviously dictated by nature itself. Proof of this can serve as the fact that the animal, and plant, and even inanimate world inherent balance in the composition. Examples of it are everywhere: a maple leaf, a crystal of snow, a shell of a mollusk, etc.

The search for harmony in the arrangement of elements of a man who has artistic thinking, performs intuitively. This aspiration is traced in the history of world culture for thousands of years. In particular, it is expressed in the pull to symmetry, which is proved, for example, by the visual balance of masses in the composition of ancient Catholic cathedrals, cross-domed temples of Ancient Rus and, of course, in the ensemble of Egyptian pyramids.

Symmetry and asymmetry

As you know, there is no absolute proportionality in nature. Also not found in it and complete asymmetry. However, the fact of the mirror principle of the structure of the absolute majority of living things (and also many elements of inanimate nature) testifies that in the world everything tends to proportionality. The human creations gravitate towards it.

The equilibrium of masses in the composition is achieved by the correct arrangement of its elements on the plane or relative to the central point. Symmetry is the most contrasted expression of its quality. The above-mentioned mirror type is considered to be the most common both in the non-miraculous nature and in art. The essence of it is a close to equal ratio of the parts of the object relative to the vertical or horizontal axis.

Such Types of equilibrium of the composition, as axial and helical symmetry, are formed by rotation around the axis. In the first case, when rotating, various elements can be repeatedly combined. In the second, through a variety of artistic techniques, dynamics are created-a spiral motion around the static axis.

However, we should not assume that the artist can achieve harmony in his creation, only strictly following the norms of proportionality. One of the ways of achieving it in the visual arts, architecture, prose and poetry is the asymmetry, which also enters into the foundations of composition. Equilibrium in the absence of formal equality of elements allows to achieve the correct arrangement and combination of all parts of the object according to their color, tones and mass. We, for example, can see such techniques in the paintings "Landscape with Polyphemus" by Poussin and "The Madonna in the Cave" by Leonardo da Vinci.

Scale Value

The visual balance of the masses in the composition with complete lack of symmetry is also applicable in architecture. An example of it can serve as St. Andrew's Cathedral, which has disproportionate towers (one of the characteristic features of the Victorian style). Asymmetry is a more complex device in art and, unlike the mirror method, is read gradually. Being a way of conveying the artist's intention and striving for his most vivid expression, disproportion reveals the dynamic balance in the composition. Demonstrating the balance of different elements of varying degrees of massiveness, it creates the illusion of their movement within the general boundaries.

The actual massiveness of objects is read exclusively by comparing them, and in the process of evaluation they operate with the term "scale". To create a compositionally correct asymmetry, great importance is removed to the smallest detail as an effective means of artistic expressiveness. At the same time, using scale, one can not avoid proportions, since they are closely related. Therefore, this is the most complicated law of equilibrium in composition.

The principle of proportion is the observance of the constancy of relations between two or more quantities. Increasing one to certain limits, the same amount should be increased and another.

Geometry in art

Compliance with the rule described above makes it possible to achieve proportionality and complete harmony of the elements with respect to the parts and the core of the object. The principle of proportion is a classic in the range of universal means that the composition uses. On the topic of "Balance in Graphic Art and Architecture" there are many scientific works.

So, as the absolute of proportion, many centuries ago the so-called golden section was discovered. This term was introduced into widespread use by the great genius of Leonardo da Vinci. This proportion assumes equilibrium in the composition, mathematically expressed by the number 1.62. Graphically, it is transmitted by constructing a geometrically perfect five-pointed star, each side of which can be conditionally divided into two parts. In this case, the resulting parts are correlated with each other in the proportion of the "golden section".

The secret of this proportion, according to scientists, was known many thousands of years ago. The result of applying this formula is precisely the balance in the composition, examples of which our era inherited in the form of such grandiose structures as the Parthenon and the Egyptian pyramids. The buildings made in the same proportions are also found in India and China, in Italy and in Greece.

Figures in Painting

In search of the most expressive schemes, artists of all centuries tremblingly treated every significant detail in the plot, realizing the creation of the composition. On the balance of geometric figures rests the art of most masters of the Renaissance, as well as the times of early classicism. So, for example, in the painting by N. Poussin "Landscape with Polyphemus", two composite details represent a large small triangle inscribed one into the other. While the characters of Leonardo da Vinci's painting Madonna in the Cave are easily built into a pyramid, the apex of which is the Mother of God itself.

To transfer an immovable image to an artist helps such a technique as static Composition, the equilibrium of geometric shapes in which is achieved by drawing all the lines to the core of the image. An example of such a solution is icon painting, where the most common setting of the plot elements is in the form of a circle, square or rectangle, and strict symmetry is often traced.

Staticness is necessary for the transfer of a state of rest, closed space. Such a composition is necessary in plots that do not involve dynamics. So, in the painting "Portrait of Ksenia Tishinina" by I. Vishnyakova, even the figure of the heroine itself forms a clearly expressed regular triangle and is the only element prescribed in light colors.

Schematic of open composition

With the advent of the Renaissance, the very concept of the world view has radically changed. The boundaries of the human consciousness have increased significantly, which is quite naturally reflected in painting, music, literature and architecture. The extremely limited world expanded to infinite limits, and the closed composition was replaced by an open one.

Moving towards comprehension of harmony in each picture, the artist, naturally, is guided by purely personal feelings and appeals to his imaginative thinking. And although the act of creativity itself can not be analyzed, most of the techniques used can be read and considered in more detail. In particular, this refers to the art schemes, thanks to which the balance in the composition is achieved. Examples of drawings, the plot of which includes extensive landscapes with a large list of diverse details, allow you to clearly observe the competent ratio of different parts in a single structure.

The importance of the details in achieving equilibrium

One of the most illustrative works in this sense are the canvases of Velasquez. So, in his remarkable creation "Delivery of Breda", the balance of turbid and bright spots, bright and neutral shades, combination of massive details and competent prescription of the plan are strikingly clearly traced.

The main story element is located exactly in the middle of the canvas. Heroes are deployed to each other. The winner's head is slightly above the head of the struck enemy and looks like a bright spot on the dull background of bored soldiers and greenish distance. The figure of the governor, who gives the symbolic key from the fallen city, is registered on a light background. He was somewhat swarthy, and his face was framed by a snow-white collar. Such contrasts can be traced on the entire canvas.

One diagonal line forms a scarf, with which the winner is bandaged from the shoulder to the hip, and the other - the flag of the defeated enemy and the lines of the hands of the main characters. Visual perception of the depth of the picture is achieved through several light strokes - the head of the horse to the left of the governor and the white shirt of the soldier next to her.

"The surrender of Breda" is a canvas that demonstrates the basic rules of composition. Equilibrium on it is achieved through the elaboration of several plans, crowned with the prospect of distance.

The Chronotope Principle

Equilibrium in the composition can also be achieved by the image in the picture of the continuing events. This method was used with great success by ancient Russian artists. Thus, Novgorod painters of the late Middle Ages created a carved painting in colors, the plot of which was based on the famous battle of the Novgorod army with Suzdal. In this work a three-tiered composition was applied: in a row (from top to bottom) three independent drawings were made, each of which demonstrated a separate episode. At the same time, being strictly one above the other, they represent a single picture.

A similar and no less common method of solving compositional problems is the creation of an image, the basis of which are events that occurred in different places and at different times, but connected by a single storyline. Often such a picture is a large canvas with a central episode in the middle and a lot of small fragments located around. Typically, such works belong to the genre of icon painting or simply to work on religious subjects, a vivid example of which can serve as the canvases of Hieronymus Bosch.

Composition in decorative art

The methods and methods used to convey the artistic design, vary depending on the type of art in which the author works. At the same time, of course, there can be similar or even general patterns. However, each craft is special and specific, and therefore each of the means of constructing the composition can be fully applied in different ways.

A painting canvas should be organic and with maximum naturalness combine all the elements without imposing an idea. And if the standard picture has as one of its goals the transfer of the illusion of space in its volume and depth, then in folk art the master seeks to emphasize the relief and detail, using for this his own special methods. The techniques of decorative creativity fundamentally differ from the ways of composition construction, which the classical artist uses. For example, since the depicted landscape can not be shown in its depth, the master places a distant plan directly above the neighbor. Such methods were used, among other things, by ancient Russian icon painters.

It is because of their greater visibility and evidence that the techniques of masters of decorative and applied art and icon painting become an object of study at the lessons of fine art in primary classes. The basis for the lesson plan, as a rule, is the definition of the concepts "rhythm" and "form" - objects that provide equilibrium in the composition (2nd class).

Methods of composition

The tasks that the artist sets for each of his work require the only true solutions. Including this applies to the techniques that are used to build the composition. The methods used by each individual artist must be original and innovative.

In order for the rules of composition to be met, much should be taken into account:

• The mass of the objects described;
• Dimensions of each and (based on this) their location on the sheet;
• Rhythm of lines and color strokes;
• Way to convey the author's point of view;
• The methods by which space is described.

Of great importance is also how clearly the silhouettes of the characters are set taking into account the set of colors of the whole picture. The composition is a kind of special professional means of the artist, through which he manages to convey his vision of the world around him, his own sensory ideas, associations, impressions, etc. These skills are perfected by every master from year to year.

Work on composition

Any artistic image is worked out by its author in advance and quite a long time. A truly correct composition of the composition obliges the artist to master such skills in perfection. Therefore, the ability to apply the techniques necessary for this should be constantly honed.

In order to comply with The balance of the basic elements of the composition on the sheet, it is necessary to have real professionalism. Even a simple point, placed on the white surface of the paper, causes the artist a lot of questions, because the impression of it will vary depending on where it is located. The same applies to any other object located on the canvas.

The basic rules and techniques of composition are the fruit of a huge history of fine art. However, from century to century they are supplemented by the rich experience of new generations of artists. The technique of composition changes, develops and always corresponds to the creative position of the masters of each particular generation.

Balance transfer

With a pronounced symmetry, the details of the picture or other artistic object are compositionally balanced. As for the asymmetric image, its elements can be located relative to each other both in the balance sheet and outside it. For this there is a whole list of techniques: an extensive smear of light shades can be balanced by a small dark spot; The counterbalance to a row of small spots is one large, etc. Thus, different parts of the canvas balance depending on their size, weight, tones and other characteristics.

In addition, not only fragments (characters, details of the surrounding space, etc.) should be balanced, but also the space between them. At the same time, compositional equilibrium should not even be compared with the mathematical equality of quantities. The ability to intuitively feel it is either given from nature, or can be developed over time in the process of tireless labor. As for the asymmetric picture, in it the semantic center is either at the edge of the image, or completely absent.

In any case, the composition equilibrium depends on:

• Correct location of massive image details;
• Plastics and rhythms of artistic writing;
• Proportions, in which each fragment of the canvas is prescribed;
• Competently chosen colors and colors.

Principles of construction

The equilibrium of the main elements of the composition on the sheet is achieved by strictly following the basic principles of their connection. The first of which (and not the most obvious) is expediency. The fact is that art, as a space in which everything is subject to strict logic, discipline and careful economy of expressive means, requires a clear correspondence of the degree of the applied efforts to the specific task posed. Any work should be built concisely and maximally productive in terms of conveying the idea and intent of the artist.

Composition, in its essence, is a connection of disparate things that, thanks to their skillful combination, begin to work as efficiently as possible and in their mutual dependence represent something new and common. This speaks of the principle of unity and integrity, which every painter must follow. In order to understand whether this law is observed on canvas, one should mentally remove any part of the composition from the picture. In the event that, as a result of this, the plot does not suffer any damage, it can be concluded with certainty that the integrity principle is obviously violated. The same can be said about the changing places of the parts of the composition and the introduction of some new elements into the picture.

Achievement of unity and integrity

In order for all principles of composition to be met, the following techniques should be used:

1. Proper imposition of objects, allows you to emphasize plans. In addition, this technique gives a sense of depth of space and gives the image volume.
2. Observance of the unity of form and character implies work in the same manner and style. Lines and plastic elements must be combined with each other. Colors must be selected in one key and repeated as necessary. The same goes for the texture.
3. In the composition there must be a generalizing form, while the expressively expressive solution of the picture must also be monotonous.

In addition, in order to achieve integrity and compositional balance, it is necessary to observe a strict sequence of actions at all stages of the creation of the work. To begin with, you should carefully consider the plan of the work. Having developed all the structural elements of the composition, it is necessary to determine the degree of correlation of its main parts. To make this possible, combine the plastic masses of the image, in the silhouette of which then the details can enter.