Skip to main content
Humanities LibreTexts

1.5: Composition

  • Page ID
    67695
  • \( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

    \( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)

    \( \newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\)

    ( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\)

    \( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)

    \( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\)

    \( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)

    \( \newcommand{\Span}{\mathrm{span}}\)

    \( \newcommand{\id}{\mathrm{id}}\)

    \( \newcommand{\Span}{\mathrm{span}}\)

    \( \newcommand{\kernel}{\mathrm{null}\,}\)

    \( \newcommand{\range}{\mathrm{range}\,}\)

    \( \newcommand{\RealPart}{\mathrm{Re}}\)

    \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)

    \( \newcommand{\Argument}{\mathrm{Arg}}\)

    \( \newcommand{\norm}[1]{\| #1 \|}\)

    \( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)

    \( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\AA}{\unicode[.8,0]{x212B}}\)

    \( \newcommand{\vectorA}[1]{\vec{#1}}      % arrow\)

    \( \newcommand{\vectorAt}[1]{\vec{\text{#1}}}      % arrow\)

    \( \newcommand{\vectorB}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

    \( \newcommand{\vectorC}[1]{\textbf{#1}} \)

    \( \newcommand{\vectorD}[1]{\overrightarrow{#1}} \)

    \( \newcommand{\vectorDt}[1]{\overrightarrow{\text{#1}}} \)

    \( \newcommand{\vectE}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash{\mathbf {#1}}}} \)

    \( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

    \( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)

    \(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)

    Composition

    When we think of someone composing a creative work we may think of a composer creating a work of music, like a symphonic poem, or orchestral suite, maybe a piano concerto? We may not immediately think of an artist creating a drawing. However, composition is the term used for an artist designing within the two-dimensional visual field using art elements and the principles of design.

    An assignment I give my Two-Dimensional Design and Color class is one that really makes them think about the visual forces at play in creating a work of two-dimensional art. I begin by defining a boundary on a white board, usually a portrait format rectangular outline. I then ask a student to go up to the whiteboard and place a mark or shape anywhere within the borders of the rectangle. I ask the class if the art being created is balanced? I then ask a second student and so on to go up and add a mark or shape considering balance and the aesthetics of the art. Each time a shape is added, the entire composition is affected. Some shapes take on a more dominant role and some smaller shapes may be subordinate, yet each piece plays a part in process of building an aesthetic work of art.

    Much consideration must be given to the many aspects of composition since the study of the visual forces at play is complex and multifaceted: symmetrical and asymmetrical balance, directing the eye, implied lines, weight of tones and values, line weight, vertical placement of shapes, the play of positive and negative shapes, how packed the space is, or conversely, how open the space is, and the list goes on. An intuitive eye for design is helpful and there are techniques and art principles to be learned. Once mastered, artists begin to bend or break the rules of art in creative ways while still having success with the final work. This is one of the joys of visual art, learning the rules of the game, and then sometimes successfully breaking those same rules.

    clipboard_e1eeb8fd0afa6638ebc2ee3426533028e.png clipboard_e59b22afced69394773a3bd464074c33d.png clipboard_e2dc4286ff429d971557281f03bb90d27.png

    clipboard_eaaf1a5fdcf2bf0daa8e7a149173cd30f.png clipboard_e8b07dea0f5fdd7262650b1bc29a3fccd.png

    https://www.joshuanava.biz/creative-illustration/the-form-principle-as-a-basis-of-approach.html

    clipboard_e1d24042b28cd2b48ae194676ec74d895.png

    M.C. Escher. Möbius Strip. 1962

    https://mathstat.slu.edu/escher/index.php/M.C._Escher

    clipboard_e2ec9a861fac3f2e61e7a6aeefd7d3b6e.png clipboard_e0c0878c9f430f5f96998471cfd765d43.png

    https://www.joshuanava.biz/creative-illustration/the-form-principle-as-a-basis-of-approach.html

    Positive & Negative Space

    Overview

    Positive and negative space play an important role in determining the overall composition in a work of art. By understanding positive and negative space and applying your knowledge, you can become more successful in designing your compositions.

    What is Positive & Negative Space?

    Positive space is best described as the areas in a work of art that are the subjects, or areas of interest. Negative space is the area around the subjects, or areas of interest.

    clipboard_e07f92472ec9607e2e44bf0c0b9c6512d.png

    Take a look at the image to the left. If you are seeing a vase, then you are seeing the white area as the positive space. The black areas become the negative space. If you are seeing faces, then you are seeing the black areas as the positive space, and the white area as the negative space.

    Balance of Positive and Negative space

    clipboard_ef75fb66b04f8a3314cbff155e84bfda6.png

    Mostly negative space (below image)

    excessivenegative.gif

    Mostly positive space

    clipboard_eff5a7b82e6aa01b06345792da52cf289.png

    Example of an M.C. Escher lithograph focusing on the play of Positive and Negative spaces and shapes (below image)

    clipboard_e0cd4eee0633008389bc8da101d1a4858.png

    Positive and Negative space and forms created by contemporary artists (see below images)

    clipboard_e45c6114efbe6d07c0972815707cac21e.png

    clipboard_ed30f1b92ce144acc2231c707c866225a.png clipboard_e1de206e8a278d8ec3415752740c46e30.png

    clipboard_e77eedcf820f982bdbbc6062cb3bc93d5.png

    clipboard_e5ef173e1cce4f559e2cc8df06cd20872.png clipboard_ec4bdd31caafac6d6b8db606724506437.png

    clipboard_e0528ff4bbc526f9f1df496bf8e1779cd.png clipboard_eacd639f98fe457d94fe881850650442a.png

    https://www.fromthegrapevine.com/arts/artist-turns-negative-space-into-positive

    clipboard_e7d74eed9a1db61b43f8fdc344eafe4ca.png

    Drawing Assignment

    clipboard_e6849d262b08a95793329ddaf6157f51f.png

    We have learned about the following concepts in studying contour line drawing:

    - Sensual (organic line)

    - Thick & thin

    - Light & dark

    - Loose and find

    The above drawing combines those concepts with am aesthetic composition in the visual field.

    Now we want to combine a contour drawing of a plant and a formal geometric design (composition) emphasizing the negative space. The types and sizes of the geometric shapes you choose are up to your imagination. One objective is to create a sense of balance. Another is to incorporate one of the design systems into your drawing (see design systems featured later in the chapter). Here are some student drawings created for this assignment:

    clipboard_e97d7bfa6dbe4d96c7ad9e59e541f0bd0.png

    clipboard_eae6ea6dd982b2699a43088a0527c8415.png

    clipboard_e50e0eb4e03550ab73a7ef495f276b097.png

    Focus on Composition

    • Composition is a very broad but important term in art. Art is not just about being able to accurately render a scene. It is the visual form of music and you are the composer.

    • Composition in art is essentially the arrangement of Visual Elements using various Principles of Art and techniques. It is often used to describe the overall design of a drawing.

    • A well composed drawing will intrigue and invite the viewer and help communicate the artist's statement.

    Rule of Thirds

    • Rule of Thirds is dividing the visual field into thirds

    • Divisions into thirds can be horizontal, vertical, or both

    • It does not have to be exact, since it is an aesthetic design principle

    • Rule of Thirds applies nicely to landscape photography, painting, and drawing

    • The concept of the Rule of Thirds is a Principle of Design

    clipboard_e40966b670317598088fc37e5de34dbbd.png clipboard_eed8ec5bc81d5e97f9808e99af4fef881.png

    Examples of 2-D Art using rule of thirds landscape format

    clipboard_eaeee6951215d8b75a5ccd60760c759c5.png clipboard_ebcf5ae64d850fd4f9b788827bf6c2d60.png

    Example of rule of thirds portrait format

    clipboard_e1bed66573c40d2449bd85fb317d28637.png clipboard_e3f04f2811a48d438f19a9ea572b36f04.png

    Vertical rule of thirds may relate to foreground, middle ground and background

    • The foreground is made up of the large rocks

    • The middle ground features the closest trees

    • The background includes the lightest in value trees - fading them into the background

    clipboard_ef2efcb4069a0aec85ae0a25e18a76260.png

    Contemporary drawing with use of Rule of Thirds

    Japanese Design

    clipboard_e6686a40cc794f94c56bf9140f15adcd9.png

    • Japanese design is based on two squares side by side.

    • This is represented in the Japanese tatami mat seen here:

    clipboard_e054531f3673bf217fdb2d36d6079c178.png

    Tatami mats are two squares side by side and form the basis for the Japanese design system.

    clipboard_ee3d59b9523d58881e54772c9c549975e.png

    The two square system of Japanese design = repeated rectangles incorporated into living quarters

    The Golden Ratio

    clipboard_e36f97e5d961ac16d78f01d0870c7b4ed.png

    The Golden Spiral

    The golden ratio is also called the golden mean or golden section.

    Mathematicians since Euclid have studied the properties of the golden ratio, including its appearance in the dimensions of a regular pentagon and in a golden rectangle, which may be cut into a square and a smaller rectangle with the same aspect ratio.

    The golden ratio has also been used to analyze the proportions of natural objects. The golden ratio appears in some patterns in nature, including the spiral arrangement of leaves and other plant parts. The golden spiral appears in seashells!

    clipboard_e04a8b9beb8fec5590d3819bd4330cadf.png

    clipboard_e7db1e6931813492b00f7248a5861948c.png


      1.5: Composition is shared under a All Rights Reserved (used with permission) license and was authored, remixed, and/or curated by LibreTexts.

      • Was this article helpful?