static speaker art composition

This pair of harmonization means is used to express the degree of stability of the composite form. Such stability is estimated purely emotionally, by the impression that the form or composition as a whole produces on the viewer. This impression can come from the physical condition of the form? Stable or dynamic, associated with the movement of an object in general or its parts and a purely composite (formal) method of organizing elements.

Each period in the history of the visual art is marked by the predominance of statics or dynamics as the main aesthetic installation. The overall installation of the historical era is reflected in art as the tendency of artists to prefers static or dynamic forms. This is due to the prevailing type of consciousness and the worldview.

The predominance of statics in the art of ancient Egypt (static canonical poses, static forms in architecture) is due to the orientation of Egyptian culture on the afterlife, the other world, the main feature of which is immobility, invariance, peace.

For ancient Greek culture, the balance of statics and dynamics is characterized, which is due to the installation of the ancient Greeks on calocation - the equilibrium of beauty and good, internal and external, harmony.

The vertical dynamics of the gothic architecture is due to the installation of the medieval consciousness on the degree, spiritual transformation, religious impulse.

The dynamics of Baroque is due to the general installation of the Renaissance on the activity, the power of the man-creator, activity, masculinity.

The dynamics of romanticism expresses a common impulse of that time to a sharp run from reality into exotic countries and the desire for heroic adventures.

Modern is dynamic, as it expresses the nature of time - the desire to update in all spheres of life.

The nature of life in the 20th century has become more complex and multifaceted than in other era, therefore, in the XX century, the static and dynamics are organically combined with each other. Perhaps the dynamics prevails, as the main feature of the rhythm of life in postmodern.

We live in a constantly changing world. In the works of fine art, artists seek to display the flow of time. Movement in the picture - expressive time. On a picturesque canvase, fresco, in graphic sheets and illustrations, the movement is usually perceived by us due to the plot situation. The depth of phenomena and human characters is most pronounced in a specific action, in motion. Even in such genres, like a portrait, landscape or still life, the true artists strive not just capture, but fill the image with dynamics, express its essence in action, during a certain period of time or even present the future.

Dynamics - visual impression of movement, speed, rapidness of form. Works of art in which movement is present, characterize as dynamic. The dynamism of the plot may be associated not only with the movement of any objects, but also with their internal state. Dynamic makes the shape, active, noticeable, highlighting it among others.

The speaker is used to express the following meanings:

variability,

inconstancy

desire

traffic,

development,

dyingness

readiness

culmination of the moment

emotionality

festivity

"alternative".

Externally unstable, inclined to move, asymmetry, openness, this type of composition perfectly reflects our time with its cult of speed, pressure, kaleidoscopicity of life, thirst for novelty, with fashion swiftness, with clip-thinking. Dynamics often eliminates the magnifier, foundation, classical completion; But there will be a big mistake to consider simple carelessness in the work of dynamics, these are completely unequal concepts. Dynamic compositions are more complicated and individual, so require careful thinking and virtuoso execution.

Static - a visual impression of immobile. This state of resting, equilibrium of the form, stability in all its strictly, in the geometric basis itself. Sustainable, fixed, often symmetrically balanced, compositions of this type are calm, silent, cause the impression of self-affirmation, carry not an illustrative description, not an event, and a depth, philosophy.

Status is used to express the following meanings:

calmness

carelessness

monograph

timelessness

hardness,

confidence,

monumentality

thoroughness,

majesty

solemnity,

the importance of the moment

stop,

"classic".

If the above compositions compare each other and try to find the relationship between them, it can be said that static compositions are almost always symmetrical and often closed, and dynamic - asymmetrical and open. But it does not always happen, the rigid classification relationship between pairs is not viewed.

It is known that the movement in the picture is not present really, but is perceived by consciousness, being a reaction of the visual apparatus, the movement of the eyes caused by those or other visual impressions. Even if the picture shows a static state, a symmetric composition, stable and fixed, it has a movement, for the parts, the elements of the artistic form always express movement: their color and tone relationships, the interaction of lines and forms, contrasts, tensions cause strong visual pulses, and Consequently, the feeling of movement, life. Composite techniques have the ability to direct and strengthen this feeling of movement in the image. What other specific techniques, visual means can be conveyed and strengthen the dynamics of the plot, and what are the statics?

Artists know many secrets to create the illusion of movement of objects in the picture, emphasize his character. Consider some of these funds.

reticulate.

Plane of sliding reflection there is a combination of symmetry planes and parallel transfer.

Examples of opposite symmetry are also: a positive embossed form (bulge) and the negative (deepening) equal to it; The figure of one color and the equal figure of another color (tone); Black and white ornament on the principle of "positive - negative".

Symmetry similarityit will be observed if simultaneously with the transfer will decrease or increase the size of the figure, the gaps between the figures.

Ornamental motif can be performed using the similarity symmetry.

\u003e\u003e\u003e at the beginning

2.5. Static and dynamic compositions

All ornamental compositions are divided into two types.

- static and dynamic(by analogy with nature objects - fixed and moving). The figurative meaning of the dynamic composition is movement, development, tension; static - peace, immobility, shape closure. Combining elements of a dynamic and static nature, you can create a lot of ornaments, a variety of compositions.

Typical properties of static and dynamic composition

The motive will be static if it can be divided by the plane of symmetry on equal parts so that one half of it was

mirror reflection is different. Similarly, with two planes of symmetry (vertical and horizontal). The staticness of the motive is determined not only by its symmetry, but also the inclination. Vertical and horizontal cause a feeling of stability, peace (statics). Inclined lines are dynamic. All asymmetric motifs are dynamic, they are divided into unequal parts. The dynamism of these motifs in compositions is emphasized by the slope.

In ornamental compositions, a combination of static and dynamic elements is often used. Circular arcs in the vertical and horizontal arrangement are static. Circles are always static. Dynamic spirals, parabolas, etc.

Static Rappatory compositions

The main task in creating static compositions is to organize a holistic ornamental structure expressing the idea of \u200b\u200bstatics. The greatest visual stability (static) of the ornamental composition is achieved during square form.

When creating a static composition, first of all, you need to build a frinport grid. Then to arrange the specified motifs in horizontal rows. Location of motifs

the network ke has TP and the option depending on the background ratio and pattern:

1. The distance between motifs is less than the motive (the maximum compacted location of the picture).

2. The distance between the motifs is proportionally with the motive itself (the principle of the same -

in chess).

3. The distance between the motifs is much larger than the motive (sparse location).

The more elements of the picture are consistent according to the principles of symmetry and the same, the stronger they express the idea of \u200b\u200bthe statics of the entire ornamental composition.

For example: in the patchwork composition the same square rapports - blocks and the same intervals between them horizontally and vertical - grille.

However, the desire to create absolutely balanced

all parameters, the composition may result in dryness and schematics of the composition, deprive its necessary diversity and expressiveness. In order not to happen this, the element of the dynamism should be made: the rectangular form of the rapport, the opposition in one rapport of large and small motifs, the tone focus on one of the motifs or other color tone, etc. From the introduction into the static composition of the dynamic elements, the static drawing is only increasing. It is only important to dominate precisely those expressive products that give it static.

Graphic interpretation Motiva

1. Linear motive solution (line use). In patchwork sewing it can be stitch lines

or patchwork line.

2. Spot Motive Solution (Spot). Compared to linear it, it more actively and highly focuses on rhythmic alternation.

3. Linearno-stainedsolution of motives (using line and stains).

In patchwork sewing it can be a combination of stitches and patterns.

Dynamic Rappatory compositions

Dynamic ornamental compositions are built by the principle of unequalness. The most important in the dynamic composition is to coordinate the various movements of the elements, the search for the main ones and the subordination to them is secondary.

Feeling motion (speaker) is achieved:

in the absence of the axis of symmetry at the motive itself;

if the motive has at least one axis of symmetry - due to the turn of the motive;

with absolute symmetry, the motive - by changing its size.

This pair of harmonization means is used to express the degree of stability of the composite form. Such stability is estimated purely emotionally, by the impression that the form produces to the viewer. This impression can come from a static or dynamic object as a whole or its parts.

Static formsaccording to the impression it is estimated as extremely stable (square, rectangle, cube, pyramid). The composition composed of similar forms is monumental, static. The main types of static forms are presented in Figure 13.

1 Symmetric form 2 metric 3 with minor

displacement of elements

4 with a combination of equal 5 with minor 6 with lightweight riding

elements of the boss elements

7 horizontal membership 8 equal location 9 with large elements

elements

10 with a large main 11 symmetric location 12 with a highlighted center element element

Figure 13 - Main types of static forms

The composition is considered static if it is built according to the laws of classical symmetry.

Dynamic shapestypical for the forms of many modern moving design objects, primarily different moving vehicles. Often these forms are actually moved in space. The dynamic composition is based on an asymmetric solution and some impassableness. The main types of dynamic forms are presented in Figure 14.

1 shape with displaced 2 rhythmic character 3 perpendicular

from the center of the axes of the location of the elements

4 parallel location 5 lightweight Niza 6 curved species

elements

7 diagonal membership 8 free arrangement 9 elongated elements

elements

10 inclined 11 asymmetric 12 included in open

location of elements location space

Figure 14 - Main types of dynamic forms

Practical task

1 Create a static composition on a free topic using the schemes in Figure 13 (Appendix A, Figures 10-11).

2 Perform dynamic exercises on themes: wind, explosion, speed, tyrant, etc., using schemes in Figure 14 (Appendix A, Figures 12-13).

Requirements:

search options for compositions are performed by 7-10 pcs.;

display a fundamental difference in the organization of statics and speakers in the composition.

Composition material and sizes

Pencil, mascara, black felt-tip pen, helium handle. Sheet format - A3.

Repeat

Many people have an alternation and repetition. Symmetry is a repetition. The repetition law in design is manifested when certain elements (lines, shape, texture, color) are used more than once. Repeat creates a sense of orderliness. A simple replay consists of one repeating element. Complex - in the compositions are repeated elements of two or more types (color, drawing, lines, etc.). According to the method of organizing elements in design, repeat can be of different directions: vertical, horizontal, diagonal, spiral, radial-beam, fan. In each case, a new nature of movement appears and, accordingly, a new sound, special expressiveness. Horizontal replay is stability and equilibrium; Vertical - slightness, height; Diagonal, spiral - active, rapid movement.

Repeat can be regular (the same repetition frequency) (Figure 15) and irregular (Figure 16), which is more interesting, because Allows the eyes to compare small changes.

Figure 15 - Regular Repeat Figure 16 - Unregular Repeat

Practical task

1 Make a composition from one repeating element by selecting your character nature (horizontally, vertically, diagonally, spiral).

2 The same, but of two or more elements (Appendix A, Figure 14).

Requirements:

For each task, two sketch is performed.

Material and size composition:

Pencil, mascara, black felt-tip pen, helium handle. Sheet format - A4.

compositio. - drawing up, binding, addition, compound) - compilation of a whole of parts. The composition reflects the inner harmony and ordering and inherent in not only design, but also all types of art.

Composition in web design is due to the content of the site, its character and purpose

Composite harmony we observe in the plant and animal world. For example, each plant consists of parts, together they form a form and are an organically complete composition.

What is a "formal composition?"

The formal composition is a composition built on a combination of abstract elements (point, line, spot, color) and devoid of substantive content.

Formal, or abstract, the composition demonstrates the laws for which a visual product is built and allows you to trace the logic of its construction.

The historical appearance of the design as such, as a separate direction, is associated with the awareness of the formal composition as a phenomenon. The design language is based on the laws of the formal composition. When at the beginning of the twentieth century, in the framework of avant-garde areas of art, such as cubism, Dadaism, abstractionism, Suprematism has formed such a phenomenon as impreitless art, it turned out that most of the teachers of the first schools of design, such as Bauhauses and Vhutemas (first design schools) are representatives of the avant-garde. The basis of the art of the avant-garde was the formal composition, so the design as the direction of art grew precisely from the formal composition.

How to create a web design based on the formal composition?

If visual (semantic) elements are superimposed on the formal compositional basis, then combining characters and illustrations, we get a web site. If you understand the laws of the composition, then you will know how to know what size to make an illustration, what type of font pick up which pick up the color so that the web site looks stylish and harmonious.

Formal composition. Laws

The laws of composition apply to all art art works. If one of the laws is broken - harmony (consistency of parts of the image, forms, lines and color spots) is disturbed. There are three basic laws of the composition: the law of integrity, equilibrium, coented.

The law of integrity

Combining elements, parts into a single whole. One piece of work is a complete work, nor want to add anything and remove anything. By compliance with this law, the work is perceived as a single indivisible whole, and not as the amount of scattered elements

Subordination of all elements of the dominant image (the main element in the composition).

Such a state of composition, in which all elements are balanced among themselves. Balanced composition looks harmonious.

Formal composition. Receivers

Dominant

Dominant is the main element of the composition to which everyone else is subject. In the drawing, in addition to the color and size of the dominant, it may also be allocated by its unusual form.

Symmetry

- uniform placement of elements along the axis, dividing the space on equal parts. In a symmetric composition, the location of the elements relative to the axis should be the same.

- uneven accommodation.

Dynamic composition

- The composition at which the impression of movement and internal speakers is created. To express the speakers, you can use diagonal lines, assimitric layout of objects.

Static composition

(Statistics in the composition) - creates the impression of immobiles. It assumes the absence of diagonal lines and curvilinear surfaces. The composition is based on the predominance of horizontal elements.

Rhythm

— This is the alternation of any elements in a certain sequence. Rhythm surrounds us everywhere: in nature it is a change of time of the year, a change of day and night, the city is a replacing rhythm of buildings, houses. Rhythm implies a movement that can be extended to infinity is given by repeated repetition.

Contrast

Contrast (Fr.) - opposition in the composition (in color, texture, in form, in size, etc.). Contrast, it is not only the frontal oppression of the "black" and "white". It can have steps, shades, gradation. But the limits still exist, the lower it is "almost the same", and the upper, it is incoherence.

One-dimensional contrast - contrast only one parameter, for example in form

Multidimensional contrast - contrast to several parameters immediately: for example, shape and color

Nuance

Nuance(Fr.) - a subtle difference, barely noticeable transition. Distinguish the nuances in shape, size, color, texture, etc.

Nuunting does not introduce any new principles or materials. The nuances can be compared with the outer finish of the building, to which they are moving when the foundation is already ready and the walls are erected.

The composition devoid of nuances and final finishes may seem interesting only at first glance, with a more detailed consideration, sharp corners will be noticeable, a loose fit of parts, monotony - all this impresss slurry. Conversely, detecting all new and new details related to the designer, we get intellectual pleasure. Most of these discoveries occur subconsciously - we cannot track which complex counts and comparisons holds our brain, considering the object you liked, and therefore we can not always understand why we like it.

Statistics and dynamics.
First, a few words about the statics. Status is immobility. Sometimes it is necessary to transfer static, stability, some calm, etc., sustainability, some calm, etc.. Usually in such compositions, only verticals and horizontal are used. But, such compositions, where there would be no way any movement, is not so much. Therefore, on this we will focus and move on to the topic "Movement".
Movement or dynamics.
Very interesting and very surround topic. What do we mean by the word "movement"?
First, the simplest and clear is the image of something or someone moving, for example: a person, animal, birds, car, etc. or the image of the elements of nature: leaning trees, waves on the water and T .P. .
And secondly, under the "movement" in the composition we understand the movement of the eye of the viewer. Considering the picture (composition) of the eyes moving along certain lines (directions). Even if in the picture (composition) there is no image of a single moving element, "movement" in it can still be present.
If the artist well thought out his composition, he would somehow lead a viewer, directs his view from one element, to another. And the eyes, considering the image, move in accordance with the idea of \u200b\u200bthe composition. The artist attracts the viewer, invites him to consider his work. His task: Stop (surprise), detain attention, attract to your composition (picture, etc.). The look is moving according to figures, lines and stains, on rhythmicly built verticals, diagonals and horizontals.
Trees and ways to transfer "Movement".
Usually, the diagonal line helps to pass the movement. Most often, this line is as if directed from the right upper angle to the left below. Either in a straight line, or by "ES-shaped" line.
Here is something like that.

Why so? Some deny the effect of moving the movement in this direction. Movement can be transmitted in the opposite direction (depending on the plan and many other elements, of which the composition consists) and this is true. I think that this direction is used more often simply because in this direction the diagonal is much easier to spend. True, perhaps, this is true only for right-hander (?). Try, draw a diagonal in the opposite direction. Like this.

If one line is not difficult, then it is much more difficult to spend them in such a direction than in the opposite (right left and from top to bottom).

Several examples on the organization of movement in the composition.
Fig. one.

If the image of the figure, which moves, arrange very close to the edge of the sheet - as in fig. 1, then the figure will be out of it. And the eye of the viewer, moving in this direction, will try, too, go after her. And on this, the viewing of the composition will end. The viewer will go to the next work.

Fig. 2.

Thus, if we want to delay the viewer, the figure is better to deploy in the opposite direction. To send as if deep leaf (composition).

Fig. 3.

Or, the view can be returned back by some other element (figure, stain) - the same bright in meaning or simply brightly bright color, tone, etc. In any case, the figure is better not to distinguish the very edge, it is necessary to leave enough Places until the end of the sheet. That's right. The glance now has the ability to return and some time to consider the image, and not to leave after the figure 

Movement in the landscape.
Often in the landscapes there is an image of the road in the central perspective, diagonally or the ES-shaped line. Such an element immediately gives the dynamics and depth of space.
Movement in still life.
Here you can talk about diagonally located objects. They help guide the viewer's view from one element to another.
Movement in the scene composition.
Here is already more diversity in moving methods. Here are the figures, and surrounding their environment obey the rules of dynamics and statics.

The task.
Based on the concepts already familiar to us: "wholeness", "contrast" (nuance) and "rhythm" come up with a composition where there would be some "movement".
one). Abstract composition of geometric shapes. Movement can be organized in any directions (in a circle, to the center, or from the center, diagonally, etc.)
2). Landscape with expensive, using perspective, diagonal or ES-shaped line.
3). Still life of 3-4 seconds.
four). Complete two - three figures interrelated each other. On a free topic (sport, work, rest, work, children, family, etc.).

So, what is important to remember, on this topic, in my opinion? This is the use of diagonals. The composition becomes more dynamic, it appears in it when diagonal directions appear. The rhythm of diagonal directions gives the activity of the composition.
* The drawings used in the text are used to illustrate the text and are not an example for imitation :)