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:

Which shape has more

a)
weight?

b)

c)

d)

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
is going to fall down.
We can place shapes 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 colors.
Magenta is heavier than green 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
because it is made of two colors: cyan
and yellow.

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 the center
to offset the visual weight of the main
figure/s.

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 interest.

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
composition.

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 used for landscapes
Landscape of Te Vaa, by
paintings.
Gauguin.

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.

5. 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.19

o Broken rhythm. If the repetition of shapes follows a broken

line.

o
o

Curved rhythm. When

elements follow a curved line.

the

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.