1. The composition

2. «What makes this painting singular and recognizable? »
The task of analyzing the composition of artwork must begin with the question:
«What makes this painting singular and recognizable? »

3. What is compound?
It is a organizational process in which the visual elements are placed on a surface or a space with a specific purpose or aim.

4. In this image you can see the elements are a complete mess.
On the other hand, the same elements have been grouped by setting up horizontal and vertical lines.

5. Observe how in this painting, by Emilio Pettoruti, the elements of the composition are organized.
The order is set up by lines of strength, that articulate the forms of the image.
The balance of the image depends on these lines.

6. Factors to be taken into account in the composition process:
Axes or schemes of composition
Format
Figure and background
Weight and balance
Symmetry
Rhythm and movement
Proportion

7. Schemes of composition
The scheme of composition is the group of main lines that organize the spaces where the visual elements are going to be put.

8. COMPOSITION SCHEMES Consists of: Geometrical figures
Straight lines and curves
Simple or complex modular networks

9. Simple Compositional Schemes Consist of one line, multiple lines or geometric shapes

10. Simple Compositional Schemes

11. Simple compositional schemes are made up of …
a geometric figure
one or several lines
L scheme
Symmetry Scheme
Triangular scheme

12. Diagonal scheme
Esquema en aspa
X scheme
Curved lines scheme

13. X scheme

14. Complex Compositional Schemes
Is the combination of two or more simple compositional schemes
Gives the composition a greater sense of complexity

15. Complex Compositional Schemes

16. Simple or Complex?

17. One point perspective composition that gives us the sensation of tranquility and calmness.

18. Spiral composition that produces the effects of movement and speed.

19. Composition with curved and oblique lines that produces the sensation of dynamism.

30. El triunfo de Baco, Diego de Velázquez

31. 1. There is a virtual diagonal line that runs from the top left corner to the bottom right corner. This breaks up the monotony of the horizontal and vertical lines.

32. 2. The figure of Baco is not found situated in the center of the painting but on the left. The brightness of Baco’s skin contrasts with the color of the figures on the right

33. 3. The eyes of Baco and of the men looking at the viewer are in the upper part of the painting. This draws our attention upwards and creates a sensation of elevation

34. 4. The figure under the diagonal line is reinforced in the foreground and is not clear because it is in the shade. Because of this, your attention does not focus on this figure but on Baco and the others.

35. 5. The painter has purposely included images that are not realistic, such as the shadow of the jar in the sky. These images remind us that we are looking at a painting.

36. Format
Format is the shape, size and spatial orientation of the surface in artwork
The correct choice of format is one of the basic rules when developing composition

37. Types of format:
Flat Format
Three dimensional Format
Irregular Format
The Golden Number

38. FLAT FORMATS Vertical format:
Visual sensation of equilibrium and elevation.
It has been used a lot in religious themes because it improves the sense of elevation and spirituality.

39. Vertical format

40. Vertical format Monet: Madam
We can easily observe a vertical axis in a composition, which gives the painting a sensation of equilibrium or balance.

41. FLAT FORMATS
Horizontal format: Widely used in landscape themes and still life paintings.
It helps to create the effect of order in its elements.

42. FLAT FORMATS
Still life, Zurbarán

43. FLAT FORMATS Triangular format:
Produces the sensation of a great stability in its base and limits the expansion of the forms in the upper part.

46. FLAT FORMATS
Circular format:
Encircling movement

47. Oval format
Tends to group the forms inside, creating a feeling of calmness.

48. Squared format
Focuses our sight in the center and produces a visual effect of stable equilibrium.

49. Three dimensional Formats
Goya chose a spherical shape for his painting. The people leaning on the railing around the circle create a three dimensional effect.
Goya: Miracle of Saint Anthony of Padua

50. Three-dimensional formats

51. Irregular Formats
Produces a visual effect of movement, energy and freedom
Mostly used in advertising for children and in comic strips

52. The Golden Number = Making a rectangle in golden proportion B
Firstly, we draw a square
We extend the line of the base of
The square
We make the layout of the perpen-
dicular bisector
Stick the tip of the compass
on point A, open the compass up to
Point B and draw an arc up to the line
Complete the
rectangle A

53. THE GOLDEN NUMBER IN A FACE
DRAWING A RECTANGLE IN GOLDEN PROPORTION

54. DIVIDING A PAPER USING THE GOLDEN NUMBERC B D D E E A C A B

55. The Law of Thirds
A common technique in graphic design and advertising is using The Law of Thirds – which divides the composition into three equal parts, horizontally and vertically.
The areas with the greatest visual weight are located on or near each dividing axis. These areas are called the power points or the centers of interest.

56. The Law of Thirds

57. The Law of Thirds

58. Difference between the golden rule and the rule of thirds

59. Figure and background in the composition
The field of vision is the space occupied by forms and colours.
The figure and the background can be distinguished in the field of vision.

60. Visual weight
The visual weight or centre of attention is the main area of the composition, where forms and colours draw our sight.

61. The following factors influence the visual weight
Size: The bigger the size, the bigger the weight.

62. Colour: Warm colors, such as red, weigh more than cool
colours, such as blue

64. Lighter values on a dark background weigh more than darker values due to contrast.

65. Position: a strong position on the structure (Axis, diagonals, main points) weighs more than another off-center or remote position

66. Posición: el aislamiento realza la forma haciendo que pese mas …

67. Lo excepcional pesa mas , (ej: figura de color diferente al resto de la imagen). lo mas atractivo también tiende a pesar mas.

69. Visual balance
We can get visual balance by distributing and compensating the visual weight and the direction of the forms
Wassily Kandinsky

70. Symmetry It is a basic system for the arrangement of the forms
The forms are organized with respect to an axis

71. There is axial symmetry if the whole figure can be generated by repetition of one of its halves, as if reflected in an imaginary mirror that is placed in the middle.

77. El Nacimiento de venus, 1485, Boticelli
Visual symmetry
El Nacimiento de venus, 1485, Boticelli

78. In radial symmetry, all the elements of the figure take up the same position with regard to a common point. All axes of symmetry pass through this point.

80. Rhythm and movement
Rhythm is an art principle that shows the movement with the repetition of the elements and objects.

81. Rhythm

82. Where there is similarity there is repetition, therefore rhythm and frequency.

84. Visual movement is the art principle used for creating the sensation of motion and guiding the sight of the observer in the artwork.

85. In relation to the idea of rhythm and similarity, we have the idea of proportion, which refers to the relationship between elements of similar configurations but different sizes.

86. -PLANOS COMPOSITIVOS:
Los planos de composición son una estructuración del espacio en distintas capas de profundidad, de modo que los distintos elementos de una imagen se disponen creando la ilusión de que existen tres dimensiones en la superficie plana de la imagen.
En las obras figurativas la estructuración en planos busca imitar a la realidad (superposición)