COMPOSITION

1. What is composition?
Composing means arranging the plastic elements (shapes,
dots, lines, colour and textures) so that the painting, poster,
etc. can be read and understood more easily and to
highlight its organisation.
The composition is what provides visual coherence to the
artwork.
In a composition must exist a link amongst all visual
elements which provides unity. Examples:

In a composition the link could be the colour

(establishing a rule to determine which colours to use: For
example, using analogous colours, complementary
colours or different values of the same hue.)

2. Visual balance.

When we arrange the different

elements in a composition (painting,
poster, etc.) we want to get balance.
Throughout history human beings have
tried to achieve a physical and
psychological
balance,
because
balance
provides
well-being
and
mental stability, while imbalance
provides anguish and sorrow.
A composition is balanced when the
weight of a figure offset the weight of
another figure, or the weight of some
figures are offset by the weight of
other figures, or when there exists
harmony amongst the different objects
used in the composition.
In visual arts every figure, object or
abstract stain has a specific weight

Imagine that you have a

weighing scales and you
want to know the weight
of several colours and
shapes.
Watch every couple of
shapes and answer these
questions:

a)
Which

shape
more weight?

b)

c)

d)

has

Balance by placement.
Every shape placed in the center of the field of vision will
transmit sensation of balance in the observer.
If it moves away from the center an imbalance comes up.
Thats why if we have only one figure in our composition, we
will usually place it in the middle of the support.

If a shape moves away from

the center it increases its
weight in direct proportion with
the distance to the center of
the support.
Balance

Imbalance

If we have a shape which is away from the center of the

composition we can add another shape in a different
placement in order to get balance.
To place the second shape we can use symmetry, for
example.

A shape at the bottom

of the sheet of paper
seems lighter than at
the top.
It could be because of
the law of gravity and
the sensation that the
shape
goingshapes
to fall
We canisplace
down.
with bigger visual
weight at the bottom of
the composition.

Balance by size.
A bigger shape has more visual weight than a smaller one, it
looks heavier.
Some shapes can offset
other ones, depending
on their sizes and their
position on the piece of
paper.

Weight 1 + Weight 2 =
Weight 3

We can offset a big

shape
with another
shape of the same size
or with smaller shapes
of which addition of
weights is equal to the
weight of the bigger
shape.

For example: if we have a big

dot at the centre of a drawing
we can offset it by adding
smaller dots around the
margins.
(Balance
by
placement and size).

Balance by color.
Color effects related to visual weight:
Sensation of size: One color can cause
that a shape looks bigger or smaller.
Light colors seem to enlarge while dark
colors seem to become smaller.
Sensation of weight: Some colors look heavier than other ones.
There are three color qualities which contribute to the sensation
of visual
weight.
The hue:
The hue is the pure pigment, the color itself. For
example: red, blue, magenta, etc. are hues. Here are some
colors (hues) arranged from heaviest to lightest:
1.
2.
3.
4.
5.

Red (heaviest).
Blue.
Green.
Orange.
Yellow (lightest).

The value: It is the quality of color used to describe the

degree of light or darkness of a hue. In other words, it is the
amount of white or black present in the color. Darker or
higher values seem to have more visual weight than lighter
or lower values.

The saturation: It describes the degree of purity of a hue.

A color is pure when it is obtained by mixing very few colors.
The purer is a color the more saturated it is. The most
saturated hues are the primaries (yellow, cyan and magenta)
because they are made of just one color. More saturated
colors seem to have more
visual weight
than low
saturated
Magenta
is heavier
than
green
colors.
because magenta is purer. It is a
primary color, so its made of just
one color. It is the pure pigment.
Green is a less saturated color

Balance by form and texture.

Geometric shapes and figures with compact and dense texture
will weigh more than other shapes with freer form and porous
texture, which allows to see the surface of the support.

3. Simple composition diagrams.

A composition diagram is a established way of arranging the
shapes in the support to get balance.
They are usually formed by a geometric shape or one or several
lines. Here you have some of the most usual diagrams.

Symmetric

T shape

Triangular

L shape

Arrow
shape

Cross
shape

In diagonal

s shape

Radial

Oval

The Beggar Child, by Murillo,

1650.

The Spring, by Goya, 178687.

There are three simple rules that

define how to structure space and
how to organize the forms in a
drawing in order to get balance:
The rule of balance: It dictates that
the most important element should be
in the center of the support and the
least important ones should go evenly
(size and placement) to the left and
right of the composition.

Zhang Xiaogang, Bloodline Big

Family No. 9, 1996

The rule of compensation: It is

based on the balance of the visual
weights.
The main figure/s are moved away
from the center of the composition
while other figures are added in a
different placement and distance from

Philipp Otto Runge, The

Hlsenbeck children, 1805-

The rule of thirds:

It is a composition rule used to arrange the different elements
of an image in a balanced, harmonic and appealing way. This
rule divides an image into 9 equal parts using two vertical
parallel straight lines and two horizontal parallel straight lines.
These lines and their intersection points are recommended to
place the elements of an image.

Rule of thirds and the horizon line:

When you take the horizon
line down you give more
importance to the sky. This
is also better in terms of
composition, which is more
dynamic and appealing
and focuses your attention
on a specific area.

When
you
set
the
horizon
line
in
the
middle of the support
you give the same value
or weight to every half.
This makes the image
more static and without

When you lift up the

horizon line you give
more importance to the
bottom
of
the
composition: the sea,
the dunes, etc. This also
works well in terms of

Which of these pictures has a right composition?

Rule of thirds and the vertical divisions:

When you set the main figure of the image
in the middle of the composition it looks
static,
dull,
boring
and
indecisive.
Remember that when we are creating an
image we want to transmit and tell
something to the observer.
In this case the boat looks still.
When you set the main figure of the image
in one of the thirds vertical divisions, the
composition is more dynamic.
If we set the boat in the first third, it has
more
space
forward,
what
implies
movement and a purpose, a direction.
If we set the boat in the last third the
dynamism of the composition has changed.
The boat may look faster, as if the frame
couldnt follow the movement. It could also
seem that the boat is arriving in its
destination.

4. The shape of the support.

The surface that we draw on is called a
support. The shape of the support should
also be considered in a composition.
A vertical support can give a sensation of
balance and height. It has a relationship
with spirituality and elevation, so it's
used in religious paintings because it
strengthens
the
ascendant
effect
of
spirituality.
The horizontal support represents peace
and stability. The bigger the difference
between width and height, the stronger the
effect.
It's
especially
for
Landscape of Teused
Vaa, by
Gauguin.
landscapes paintings.

St. Joseph and the Christ

Child, by El Greco, 15971599.

The square support is very static

and transmits balance.

Composition in red, yellow,

black, grey and blue, by
Piet Mondrian.

A round support is more

dynamic and may produce
the sensation of movement.
Elements seem to float.

Ships Tied Up in Rio de

Janeiros Bay, by Jos
Pancetti, 1934.

The golden rectangle is a support used very often by painters

and architects throughout history. It is based on mathematic
rules established during the classical Greece.
The golden rectangle is a rectangle of which sides follow the
golden ratio (proportion) a/b = 1,61803. This number is called
the golden ratio and it's named with the Greek letter Phi ().
The golden ratio is a very harmonious and balanced
proportion. This proportion has been used through art history
as synonymous of beauty and balance (in architecture, painting,
sculpture...).
A golden rectangle can be
progressively subdivided
into a square and another
golden rectangle.

Construction of the golden rectangle.

The Wharf Towards the Library,

Canaletto, 1740.

4. Rhythm.
All artistic fields use rhythm to organize the different elements
which take part in the specific artwork.
Music combines times and sounds.

Dance combines different physical movements.

Arts and Crafts use shapes and colors.

Rhythm is a harmonic sequence or repetition of

elements in an image. Any kind of sequences describes a
trajectory that organizes a surface and gives the impression of
dynamic impulses. These trajectories can be horizontal, vertical,
sloping, concurrent at the same point, etc.

 According to the shape rhythms can be:

o Uniform rhythm. This takes place when we repeat the
same form in a constant and regular way.

Triple Elvis, by Andy

Warhol.

o Alternate rhythm. It occurs when more than a shape is

repeated in regular intervals.

Alternate rhythm by color.

Air and Water I, by M.C.
Escher.

o Discontinuous rhythm. It occurs when the intervals vary

in length.

o Increasing and decreasing rhythm. It is created when

size, thickness, height or color is changed successively.

o Symmetrical rhythm. It can be central or axial symmetry.

 According to the placement in space rhythms can be:

o Rectilinear rhythm. If the shapes follow a straight line.

o Broken rhythm. If the repetition of shapes follows a

broken line.

Curved rhythm. When the

elements follow a curved line.

o Radial, concentric and spiral

rhythm. When the elements start
at a central point and open
outwards in a sequential way,
rhythm is organized by imaginary
radii.
In the same way, concentric
rhythm starts at the centre and
the elements expand out towards
the outside.

o Modular rhythm. A module is a set of grouped forms

that create a visual unit when put together.

According to the trajectories followed by the elements, rhythms

may express different things. A rectilinear rhythm create a
visual effect of seriousness and order. A broken rhythm
expresses nervousness, dynamism, aggressiveness, etc.