Composition

In the visual arts in particular painting, graphic design, photography and sculpture composition is
the placement or arrangement of visual elements or ingredients in a work of art, as distinct from the
subject of a work. It can also be thought of as the organization of the elements of art according to
the principles of art.
The term composition means 'putting together,' and can apply to any work of art, from music to writing,
that is arranged or put together using conscious thought. In the visual arts, composition is often used
interchangeably with various terms such as design, form, visual ordering, orformal structure, depending
on the contet. In graphic design and desktop publishing, composition is commonly referred to as page
layout.
!ovement
Movement shows actions, or alternatively, the path the viewer's eye follows throughout an artwork.
!ovement is caused by using elements under the rules of the principles in picture to give the feeling of
action and to guide the viewer's eyes throughout the artwork.
"nity
Unity is the #uality of wholeness that is achieved through the effective use of the elements and principles
of art. The arrangement of elements and principles to create a feeling of completeness.
$armony
Harmony is achieved in a body of work by using similar elements throughout the work, harmony gives an
uncomplicated look to a piece of artwork.
%olor $armony or %olor Theory is also considered a principle through the application of the
design element of color.
&ariety
Variety 'also known as alternation( is the #uality or state of having different forms or types. The
differences which give a design visual and conceptual interest) notably use of contrast, emphasis,
difference in size and color.
*alance
Balance is arranging elements so that no one part of a work overpowers, or seems heavier than any other
part. The three different kinds of balance are symmetrical, asymmetrical, and radial. +ymmetrical 'or
formal( balance is when both sides of an artwork, if split down the middle, appear to be the same. The
human body is an eample of symmetrical balance. The asymmetrical balance is the balance that does
not weigh e#ually on both sides. ,adial balance is e#ual in length from the middle. -n eample is the sun
%ontrast
Contrast is created by using elements that conflict with one another. .ften, contrast is created using
complementary colors or etremely light and dark values. %ontrast creates interest in a piece and often
draws the eye to certain areas.
/roportion
Proportion is a measurement of the size and #uantity of elements within a composition. In ancient arts,
proportions of forms were enlarged to show importance. This is why 0gyptian gods and political figures
appear so much larger than common people. The ancient 1reeks found fame with their accurately2
proportioned sculptures of the human form. *eginning with the ,enaissance, artists recognized the
connection between proportion and the illusion of 32dimensional space.
/attern4,hythm
Pattern and rhythm 'also known as repetition( is showing consistency with colors or lines. /utting a red
spiral at the bottom left and top right, for eample, will cause the eye to move from one spiral, to the other,
and everything in between. It is indicating movement by the repetition of elements. ,hythm can make an
artwork seem active.
Percy Principles of Art and Composition
Percy Principle #1 - Avoid a sore thumb. Nothing in the composition
should be so strong that the rest of the composition looks
neglected. When you have a sore thumb, you do not notice the rest of your
hand. Avoid the SORE THUM. I study my composition to see if anything
looks too important, I change that part to make it less important, OR I find
something else in the composition and make it more important. o!ever, even
scars add interest, emphasis, and e"pression if they are integrated into the
!hole.
.
Percy Principle #! - "eep everythin# connected$ Connect each part
of the composition to something else in the composition. I think of this
as Theme %ith &ariation$ If I use a big red circle, perhaps I need another
circle or another red or another big thing. I probably should not have another
big red circle. If I use a black and !hite co!, I may need another animal or
organic shape, or I may need another instance of black and !hite spots, etc.,
and so on.
Percy Principle #' ( )nclude Secrets$ Artwork is more interesting and
expressive if it has hidden features and ideas that it only reveals to
diligent observers. #he popular arts, by contrast !ith fine art, make
everything obvious at first glance.
Percy Principle #* - +hallen#e common assumptions$ Strong
artwork often makes the viewer question prior assumptions about the
world. Is my art!ork making an AR,UME-T. What does my art!ork have
to offer that the vie!er may find incomprehensible, disagreeable, or
contentious$ %y contrast, popular arts tend to support all popular ideas and
assumptions in simple straightfor!ard !ays.
Percy Principle #/ - +herish Mista0es$ istakes are fascinating gifts!
and what we do with them makes all the difference. It is hard to plan
creative !ork, but !hen a mistake happens, I am given a gift. When I respond
to the mistake and make a ne! thing from it, I do not have to borro! other
artist&s ideas to be creative. It has emerged as my solution. On the other
hand, !hen the mistake is an obvious failure, it means that I have to get to
!ork, do research, e"periment, or simply PRA+T)+E MORE. #hese are all
positive outcomes. Percy Principle #1 !as about sore thumbs. 'istakes are
sometimes like sores that make something less boring and more fun to see. I
leave enough scars to keep the story interesting and e"pressive.
Also see ( )ennett, )aniel C. *+,,-. /o! to 'ake 'istakes./ In0 1.
%rockman, 2. 'atson *eds.. How Things Are. 3e! 4ork0 William 'orro!
and Company0 +56(+77.
Percy Principle #1 ( e Accident Prone. Accidents in art are tragic or
happy ( depending on the artist&s disposition to respond. #he benefits of
accidents and mistakes are very similar. #hey both present une"pected
problems or opportunities. If one of my soft clay pieces accidentally falls off a
!are board, it presents itself to me as an idea for a !all pla8ue, !all vase,
mirror frame, or something else not yet imagined. If a large bo!l form falls
flat and becomes a platter, it may not be functional, but it can be transformed
into relief sculpture. #his particular piece of clay can be thro!n in the re!ork,
but the images presented to me are filed in my mental hard drive. A series of
!all pieces or platters may emerge from the ideas presented by the accident.
Creative people pri9e accidents and mistakes precisely because accidents move
the mind to places it does not voluntarily go. Creativity is not simply problem
solving. :"perts may be good at problem solving, but the highly creative also
love the art of /problem finding/.
Accidents and mistakes are such useful problem finding techni8ues that !e
need to practice them. ;ome lessons can have /intentional accidents/ as part of
the lesson. It is a !ay to learn ho! to generate problems and ideas.

Percy Principle #2 - Never borro% other artist"s ideas. Steal
3em4 Ideas are free for the taking. Ideas are all around us in the vapor of
e"istence. Images and particular arrangements of !ords, on the other hand, are
copyrighted. Inventions are patented. Copyrights and patents are /intellectual
property/, but ideas and concepts belong to everybody. #hey are in the public
domain ( al!ays have been. If I find a good idea, a truth, I do not !ant to
borro! it. I do not !ant to return it. I !ant to appropriate it, test it, and make it
my o!n. I o!n it. <ike the thief, I !ant to steal it so I can tell it, paint it, and
fling it !ith clay and gla9e. Ideas are free. #he ability to e"press a good idea is
a valuable artisitic ability.
Source: I !as introduced to this Principle by 3ick <indsay, poet and son of
=achel <indsay, poet. In +,6>, as he !as helping me build our house, I asked
3ick if he felt like borro!ing another poet&s ideas. e said, "Never borrow
'em. STEAL 'EM. Make 'em your own. Don't pan to give 'em ba!k."