Composition refers to the artist’s organization of the elements of art, whether in two- or three-dimensional works. When speaking of a painting, the composition refers to the arrangement of these elements on the picture plane. In the case of architecture, composition is a word used to describe the organization of these elements in space. Rhythm is the principle that we associate with movement or pattern. Artists create a sense of movement or rhythm in their artwork through the repetition of elements such as line, shape, color, and texture. The rhythm of a composition can cause the viewer’s eye to move rhythmically across and around the composition. Some rhythms flow smoothly, while others are more jarring. The artist directs the movement of our eye through the use of repeated elements. Motif and pattern are two aspects of repetition. A motif is a single element of a pattern. For example, in a quilt design, one or more motifs are repeated to create an overall pattern. A pattern involves the repetition of certain elements—color line—or motifs within a work of art. Many patterns feature regular repetition. Shapes or motifs may be repeated in a number of ways to create regular patterns. Some kind of grid system will underlie a regular pattern. Checkerboards offer an example of a regular pattern.
Balance refers to the equal distribution of visual weight in a work of art. There are a number of techniques that artists use to create balance. The easiest to comprehend is symmetrical balance—a balance achieved when elements of the composition are repeated exactly on both sides of the central axis. If you fold a paper in half vertically and one side of the centerfold is a mirror image of the other side of the centerfold, then you have an example of symmetrical balance. Many formal styles of architecture make use of symmetry with columns, wings, and windows arrayed equally on either side of the central entrance. Artworks in which the central axis is horizontal and equal visual weight is placed above and below that axis also exhibit symmetrical balance. To avoid the rigidity and monotony that may accompany a symmetrical composition, many artists employ approximate symmetry. In this kind of balance, shapes or objects are slightly varied on either side of the central axis. The artist may also include variations in the color, detail, or position of the shapes to achieve this effect.
Asymmetrical balance is a visual balance that is achieved through the organization of unlike objects. Even though asymmetrical balance may appear to be more informal than symmetrical balance, it is actually a more complex compositional task. There are several ways that asymmetrical balance can be achieved. The first is by the position of objects. Think of two people of unequal weight on a seesaw. To maintain a balance, the lighter person must sit far out on the end of the seesaw while the heavier person must sit close to the fulcrum. Similarly, an artist may create balance by placing the heavier, more solid object close to the center of the artwork while placing smaller objects farther away from the center.
Asymmetrical balance is a visual balance that is achieved through the organization of unlike objects. Even though asymmetrical balance may appear to be more informal than symmetrical balance, it is actually a more complex compositional task. There are several ways that asymmetrical balance can be achieved. The first is by the position of objects. Think of two people of unequal weight on a seesaw. To maintain a balance, the lighter person must sit far out on the end of the seesaw while the heavier person must sit close to the fulcrum. Similarly, an artist may create balance by placing the heavier, more solid object close to the center of the artwork while placing smaller objects farther away from the center.
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Contrast of color, value, shape, size, line, or texture creates interest to the eye. An element that contrasts with the rest of a composition will create a focal point where the eye tends to rest. This focal point appears more dominant, more important than other parts of the composition. In this way, the artist may guide the viewer to an understanding of meaning.
Proportion refers to the size relationships among the parts of a composition. Our sense of proportion is based upon our human scale. Scale refers to the dimensional relation of the parts of a work to the work in its entirety and can refer to the overall size of an artwork. Size attracts our interest. The vast scale of the ceiling of the Sistine Chapel creates a sense of awe. The detail of a tiny painting of illuminations in medieval manuscripts intrigues us. Artists consider the purpose and place of their art when determining the appropriate scale for the work.
Scale also refers to the relative size of elements within the artwork. In a naturalistic work, we expect that the relative sizes of the objects depicted will appear as they actually are in life. In some cases, artists intentionally make one person or object in their composition larger to draw our attention to that person or object.
When representing the human face and figure realistically, artists strive to use accurate proportions. The standards for the relationship of the various parts of the human face and body were established nearly 2,500 years ago during the Classical Period of Greek sculpture. The Greeks believed that the human figure was the measure of all things. As a consequence, all structures were designed in proportions relative to human proportions, and specific rules were established. For example, the ideal human figure was determined to be seven and one-half heads high. The features of the human face could be correctly placed according to these rules: the corners of the eyes fall on a line halfway between the chin and the top of the head, the bottom of the nose falls halfway between the chin and the corners of the eyes, and the bottom of the lips falls halfway between the chin and the bottom of the nose. However, many artists at different times have altered these proportions to reflect changing ideals of beauty. At other times, artists have exaggerated or distorted proportions for an expressive effect.
To truly understand how artists manipulate the elements of art and the principles of composition, it is necessary to examine a great many artworks and to analyze how artists create meaning in their artwork through skillful choices and the application of these artistic concepts. Students should keep in mind that many of the elements discussed in the principles of composition section of this guide are more often found in traditional works than in modern artworks. The rejection of notions such as unity and balance is often the very essence of much modern art.
Scale also refers to the relative size of elements within the artwork. In a naturalistic work, we expect that the relative sizes of the objects depicted will appear as they actually are in life. In some cases, artists intentionally make one person or object in their composition larger to draw our attention to that person or object.
When representing the human face and figure realistically, artists strive to use accurate proportions. The standards for the relationship of the various parts of the human face and body were established nearly 2,500 years ago during the Classical Period of Greek sculpture. The Greeks believed that the human figure was the measure of all things. As a consequence, all structures were designed in proportions relative to human proportions, and specific rules were established. For example, the ideal human figure was determined to be seven and one-half heads high. The features of the human face could be correctly placed according to these rules: the corners of the eyes fall on a line halfway between the chin and the top of the head, the bottom of the nose falls halfway between the chin and the corners of the eyes, and the bottom of the lips falls halfway between the chin and the bottom of the nose. However, many artists at different times have altered these proportions to reflect changing ideals of beauty. At other times, artists have exaggerated or distorted proportions for an expressive effect.
To truly understand how artists manipulate the elements of art and the principles of composition, it is necessary to examine a great many artworks and to analyze how artists create meaning in their artwork through skillful choices and the application of these artistic concepts. Students should keep in mind that many of the elements discussed in the principles of composition section of this guide are more often found in traditional works than in modern artworks. The rejection of notions such as unity and balance is often the very essence of much modern art.