As stated
earlier, the elements of composition are like tools. Principles of composition
are simply good ways to use these tools. The simplest way to explain it is that
each principle relates to your own personal experience - what you already know
about the world. So, principles of composition can be listed under these
categories:
Gravity
Psychology of Shapes
Psychology of Order
Psychology of Colour
Emphasis & Movement
Mood
Unity
For each of these concepts there are many principles which
can be used as tricks to better your composition - to make your designs more
effective. But, I have to emphasize, the key to composition isn't in the
tricks. To quote artist Chris Bennett:
"There has not been, as yet, a book written that
promotes understanding of what is unique about and peculiar to the vocabulary
and grammar of painting. The formulas and 'tips' contained in these volumes are
generally providing codes for replicating ways of building images. It's a
situation rather like someone learning the guitar by memorising chord shapes in
sequence to play their favourite songs without having any idea about the
grammar of harmony. It sounds like they know their instrument, but only if they
are asked to play their party pieces.
So, for
example, in a book about landscape composition, all we are getting is a couple
of generalised pointers about how to make one's efforts 'balance' by
superimposing a vague template crudely sifted from some successful pictures of
the past. 'Knowledge' used in this fashion is in fact a prison. Understanding
the engine behind these codes is what enables you to speak as an artist.
Unfortunately, I know of no book that addresses this comprehensively. You have
to find it by asking yourself some tough questions about what on earth it is
you are doing, what it is for and why you are not trying to do it in any other,
more expedient, way."
In other words, you should learn these principles, and all
the tricks, but don't just copy them. Little visual tricks won't make your
artwork great, merely more effective. It's the same in literature. People still
read Shakespeare for the stories, not to appreciate the fine grammar. With art, it gets a little confusing with masters being praised for all the little tricks they knew. But, every
professional artist will tell you,
the main idea of the work is the key to its
success.
James Gurney says you have to feel something first - there has to be
some emotion tied to the idea, if it's going to work. Kev Ferrera
says:
"...unity
of expression is the key to composition. Unity of expression is what marries
technique, style, detail, composition, drama, character, content, and subtext
under one banner of thought. And the key to unity of expression is the
controlling idea... the governing theme that predicates or determines the
technique, style, detail, composition, drama, character, content and subtext.
The question is then, what do good controlling ideas look like? And how do I
come up with them? This the million dollar question..."
So, having said all that, here are some principles to
think about:
GRAVITY
All the elements of composition are governed what we know about gravity.
1. The upper half of a picture represents the sky, and is a place of freedom. Anything placed up high becomes special. It's flying. So, it grabs our attention.
Departure-Arrival, by Rachel Constantine
Beginnings, by Julie Dillon
Illustration by Patricia Van Lubeck
2. The lower half of a picture represents the ground, and is
sadder, even if things are more stable. Lines and shapes feel immobile, stuck, and vulnerable.
People on the ground can be attacked. People up on castle walls are safe.
28th Regiment at Quatre Bras, by Lady Butler
If you're at the bottom of a war scene, you're probably dead.
3. Horizontal lines & shapes are stable and calm,
because they're lying down. They're at rest.
Solace, by Candice Bohannon
This is true regardless if a work is realistic or abstract:
4. People typically read a picture as having a horizon line,
even when you don't draw it - when it's hidden behind things, whether indoors
or out. We see it because of perspective. This painting, by Francois Baranger, has a horizon line:
You can find it by first finding the vanishing point:
And then, you know the horizon line sits on this point:
You can find it by first finding the vanishing point:
And then, you know the horizon line sits on this point:
5. When a work is non-representational, with no indication
of a horizon:
viewers will use the real world horizon to ground themselves:
This line could be anywhere on the artwork. It depends on how high or low it's hung on the wall - and also how tall you are. But, you'll always feel there being a horizon line somewhere in a picture because of your sense of balance (equilibrioception), coming from your inner ear.
Yellow Curve, by Ellsworth Kelly
viewers will use the real world horizon to ground themselves:
This line could be anywhere on the artwork. It depends on how high or low it's hung on the wall - and also how tall you are. But, you'll always feel there being a horizon line somewhere in a picture because of your sense of balance (equilibrioception), coming from your inner ear.
6. When you slant your horizon line, you create tension,
unease, and confusion.
Your viewers know they have two feet planted on the ground, yet, to understand the picture, they must imagine themselves not firmly standing on the ground. One might be flying in a helicopter, or lying on the ground,
or holding onto the side of a cliff:
These are all artworks that place the viewer into the scene, participating in the action - at least a little. This trick is commonly used in films, where it's called a Dutch angle - actually a corruption of the word 'Deutsch', because this trick comes from Germany, from the film The Cabinet of Dr. Caligari:
Hydro Ship, by John Berkey
Your viewers know they have two feet planted on the ground, yet, to understand the picture, they must imagine themselves not firmly standing on the ground. One might be flying in a helicopter, or lying on the ground,
All Played Out, by Mark Goodson
or holding onto the side of a cliff:
Cliff Jump by Khan Muftic
These are all artworks that place the viewer into the scene, participating in the action - at least a little. This trick is commonly used in films, where it's called a Dutch angle - actually a corruption of the word 'Deutsch', because this trick comes from Germany, from the film The Cabinet of Dr. Caligari:
Film Still from The Cabinet of Dr. Caligari
7. Vertical lines & shapes are strong and impressive -
they're standing up.
Relative Innocence, by Rose Frantzen
8. A horizontal line placed on top of vertical lines looks
majestic - both strong and stable, like a Greek temple.
A replica of the Parthenon, in Nashville, TN
photo by Mike Fitzpatrick
9. Square & Rectangular frames also suggest strength -
the horizontal lines above and below, and the vertical lines of the sides. This is true regardless if the frame is ornate:
At the Gate of the Temple, by John William Godward
or simple:
Emerald Waters by Shanna Kunz
Every frame is a temple.
10. Diagonal lines and shapes suggest motion,
tension,
and falling.
Nike Man, by Mateja Petkovic
'Full Twist' by Jane Fisher
tension,
Fisher Girl of Picardy, by Elizabeth Nourse
and falling.
Mighty Avengers Cover, by Marko Djurdjevic
This is true, even if the work is completely abstract:
Airplane Flying, by Kasimir Malevich, 1915
11. Two diagonal lines leaning together can form a stable
triangle, but only if they're equal.
They also point up to the heavens, making the top half more special.
The Road West, by Dorothea Lange
They also point up to the heavens, making the top half more special.
12. But, if one of these diagonal lines is greater than the
other, it becomes unstable, with one side dominating.
Triangle by Martin Stavars
13. Shapes placed on diagonals seem to float in space,
unless attached to a baseline.
This is also true for abstract shapes:
The Breeze, by Mary Fairchild Low
unless attached to a baseline.
This is also true for abstract shapes:
Suprematist Composition No. 58, by Kasimir Malevich, 1916
14. Circles (and circular frames) also seem to float in
space,
unless attached to a baseline, in which case they seem to want to roll.
Cosmic Traveler, by Julie Dillon
unless attached to a baseline, in which case they seem to want to roll.
15. All these principles work together, in the context of
the picture. Their effects are cumulative - the effects of all principles
are cumulative, they work together...
16. ...But they're all still subservient to the context.
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