2. Composition: Basic Principles Mario Costa Sousa University of Calgary NPR Techniques Bruce Gooch University of Utah

3. Animation Vision Image Processing Computer Science + Art + Psychology Rendering Modeling Materials Measuring Composition Production

4. Basic Principles of Composition What is Composition? Why Learn These Principles? Fulfilling the Purpose Selecting the Subject Drawing Steps What is Composition? Why Learn These Principles? Fulfilling the Purpose Selecting the Subject Drawing Steps

5. Basic Principles of Composition Unity, Balance, Center of Interest

6. Basic Principles of Composition Achieving Emphasis with Light and Shade, Details, Contrasts Recomposing Forms Achieving Emphasis with Light and Shade, Details, Contrasts Recomposing Forms

7. What is Composition? Putting together things and arranging them in order, to make one unit of them all An art (difficult) in itself Putting together things and arranging them in order, to make one unit of them all An art (difficult) in itself

8. What is Composition? Applied to any kind of subject matter and to any kind of drawing/painting (quickest sketch  highly finished rendering) Applied to any kind of subject matter and to any kind of drawing/painting (quickest sketch  highly finished rendering)

9. Bibliography G. Franks Pencil Drawing Walter Foster Publishing, Inc., 1988 D. Lewis Pencil Drawing Techniques Watson­Guptill Publications Inc., 1984 G. Price Pencil Drawing (from the Art is... Video Series) Crystal Productions, 1993 G. Franks Pencil Drawing Walter Foster Publishing, Inc., 1988 D. Lewis Pencil Drawing Techniques Watson­Guptill Publications Inc., 1984 G. Price Pencil Drawing (from the Art is... Video Series) Crystal Productions, 1993

10. Why Learn These Principles? Two types of drawings: Naturalistic or realistic representations Personal interpretations of the subject –Our primary interest –Foundation of art (imagination, originality, beauty) Two types of drawings: Naturalistic or realistic representations Personal interpretations of the subject –Our primary interest –Foundation of art (imagination, originality, beauty)

11. Why Learn These Principles? You are able to delineate small details of buildings… Do you have the ability to compose them into a complete whole? You are able to delineate small details of buildings… Do you have the ability to compose them into a complete whole?

12. Why Learn These Principles? Define commonly used terms Discuss a few of the principles Offer some specific advice Hands-on Exercises! Define commonly used terms Discuss a few of the principles Offer some specific advice Hands-on Exercises!

13. Fulfilling the Purpose : Rendering Goals Poster Artist Advertising Artist Magazine Illustrator Architectural Renderer Fine Artist Poster Artist Advertising Artist Magazine Illustrator Architectural Renderer Fine Artist

14. Fulfilling the Purpose : Rendering Goals Poster Artist Extremely simple, directly expressed composition Must attract and hold the attention of the spectator Can be comprehended almost at a glance Poster Artist Extremely simple, directly expressed composition Must attract and hold the attention of the spectator Can be comprehended almost at a glance

15. Fulfilling the Purpose : Rendering Goals Advertising Artist Must attract and hold attention to the object advertised Creating a favorable impression of that object Advertising Artist Must attract and hold attention to the object advertised Creating a favorable impression of that object

16. Fulfilling the Purpose : Rendering Goals Magazine Illustrators Must make the magazine as a whole more attractive Should create in the mind of the spectator a desire to read the text it illustrates. Must correctly illustrate some thought in the story, supplementing or emphasizing, without giving away the whole plot. Magazine Illustrators Must make the magazine as a whole more attractive Should create in the mind of the spectator a desire to read the text it illustrates. Must correctly illustrate some thought in the story, supplementing or emphasizing, without giving away the whole plot.

17. Fulfilling the Purpose : Rendering Goals Architectural Renderers Must picture some building (not yet built, placed in an imaginary environment) Drawing must look convincingly real, down to the last detail Well-trained memory + Fertile imagination Architectural Renderers Must picture some building (not yet built, placed in an imaginary environment) Drawing must look convincingly real, down to the last detail Well-trained memory + Fertile imagination

18. Fulfilling the Purpose : Rendering Goals Fine Artist Imaginative painting not understood at a glance Its interest grows as it is studied All is not revealed at once Fine Artist Imaginative painting not understood at a glance Its interest grows as it is studied All is not revealed at once

19. Fulfilling the Purpose : Precision X Art Freedom There should be a definite purpose behind every drawing Everything done to the drawing should contribute towards the expression of this purpose There should be a definite purpose behind every drawing Everything done to the drawing should contribute towards the expression of this purpose

20. Fulfilling the Purpose : Precision X Art Freedom Communication process: illustrator should produce accurate work that is also pleasing to the eye in terms of balance and artistic handling of the subject Conceptual illustrations does not always require measurement and exact depiction; it allows more latitude for artistic license. Communication process: illustrator should produce accurate work that is also pleasing to the eye in terms of balance and artistic handling of the subject Conceptual illustrations does not always require measurement and exact depiction; it allows more latitude for artistic license.

21. Composition and NPR Jarvis Architecture-by-yourself: an experiment with computer graphics for house design SIGGRAPH '76 D.D. Seligmann and S. Feiner Automated generation of Intent­Based 3D Illustration SIGGRAPH ‘91 Schofield Non-photorealistic Rendering: A critical examination and proposed system PhD thesis, Middlesex University, 1994 Jarvis Architecture-by-yourself: an experiment with computer graphics for house design SIGGRAPH '76 D.D. Seligmann and S. Feiner Automated generation of Intent­Based 3D Illustration SIGGRAPH ‘91 Schofield Non-photorealistic Rendering: A critical examination and proposed system PhD thesis, Middlesex University, 1994

22. Composition and NPR Strothotte et al. How to Render Frames and Influence People Eurographics '94 Winkenbach and Salesin Computer-Generated Pen-and-Ink Illustration SIGGRAPH '94 Carpendale et al. Making distortions comprehensible IEEE Symposium on Visual Languages '97 Strothotte et al. How to Render Frames and Influence People Eurographics '94 Winkenbach and Salesin Computer-Generated Pen-and-Ink Illustration SIGGRAPH '94 Carpendale et al. Making distortions comprehensible IEEE Symposium on Visual Languages '97

23. Composition and NPR Streit and Buchanan Importance Driven Halftoning Eurographics '98 Sousa and Buchanan Computer-Generated Graphite Pencil Rendering of 3D Polygonal Models Eurographics '99 Agrawala et al. Artistic Multiprojection Rendering Eurographics Workshop Rendering ‘00 Streit and Buchanan Importance Driven Halftoning Eurographics '98 Sousa and Buchanan Computer-Generated Graphite Pencil Rendering of 3D Polygonal Models Eurographics '99 Agrawala et al. Artistic Multiprojection Rendering Eurographics Workshop Rendering ‘00

24. Composition and NPR Gooch et al. Artistic Composition for Image Creation Eurographics Workshop Rendering ‘01 Kowalski et al. User-Guided Composition Effects For Art-Based Rendering I3D ‘01 Gooch et al. Artistic Composition for Image Creation Eurographics Workshop Rendering ‘01 Kowalski et al. User-Guided Composition Effects For Art-Based Rendering I3D ‘01

25. Composition and NPR Gooch and Willemsen Evaluating Space Perception in NPR Immersive Environments NPAR ‘02 Singh A Fresh Perspective Graphics Interface ‘02 Gooch and Willemsen Evaluating Space Perception in NPR Immersive Environments NPAR ‘02 Singh A Fresh Perspective Graphics Interface ‘02

26. NPR Systems COMPOSITION RENDERING PRIMITIVES MEDIA Pen-and-ink, pencil, watercolor, … Strokes, brushes, erasers, blenders, … Image, Object, Hardware Stages, layout, emphasis, …

27. COMPOSITION Principles Steps Selection Study Subject Finished Rendering Initial Sketch Unity Balance Shape Value Proximity Motion Sheet Space Center of Interest Light and Shade Details Contrast Emphasis

28. COMPOSITION Principles Selection Study Subject Finished Rendering Initial Sketch Unity Balance Shape Value Proximity Motion Sheet Space Center of Interest Light and Shade Details Contrast Emphasis Steps

29. The Subject Select it Properly Study It! Extract major geometric features Highlights to visually eliminate extraneous details and reduce the subject to simple lights and darks Textures, angles where different forms join, perspective, foreshortening Select it Properly Study It! Extract major geometric features Highlights to visually eliminate extraneous details and reduce the subject to simple lights and darks Textures, angles where different forms join, perspective, foreshortening

30. COMPOSITION Principles Stages Selection Study Subject Finished Rendering Initial Sketch Unity Balance Shape Value Proximity Motion Sheet Space Center of Interest Light and Shade Details Contrast Emphasis

31. Drawing Stages Control the composition of a drawing work from the initial sketch to the finished rendering The rendering proceeds in layered steps emulating the process that artists take to make sure that the composition is correct at specific steps Control the composition of a drawing work from the initial sketch to the finished rendering The rendering proceeds in layered steps emulating the process that artists take to make sure that the composition is correct at specific steps

32. Drawing Stages

34. [Sousa and Buchanan 99]

35. COMPOSITION Principles Selection Study Subject Finished Rendering Initial Sketch Balance Shape Value Proximity Motion Sheet Space Center of Interest Light and Shade Details Contrast Emphasis Unity Steps

36. UnityUnity Composition  a homogeneous whole All the parts must be related and so merge or blend together that they become a single unit, expressing one main thought Composition  a homogeneous whole All the parts must be related and so merge or blend together that they become a single unit, expressing one main thought

37. UnityUnity Depends on the proper selection/study and emphasis of the subject Each detail must be given just the amount of attention proportionate to its importance Depends on the proper selection/study and emphasis of the subject Each detail must be given just the amount of attention proportionate to its importance

38. UnityUnity Lack of unit! Objects are not sufficiently well related by use to ever become a satisfying single whole

39. UnityUnity A fine composition unit!

40. Architectural Rendering Certain accessories are made too important in relation to the architecture itself These accessories are often indicated Trees are shown in an inconspicuous manner Clouds are either omitted or lightly indicated Shadows simplified Certain accessories are made too important in relation to the architecture itself These accessories are often indicated Trees are shown in an inconspicuous manner Clouds are either omitted or lightly indicated Shadows simplified

41. Architectural Rendering

43. [Jarvis 76]

44. Architectural Rendering [Schofield 94]

45. Subject Matter (141 refs)

46. COMPOSITION Principles Selection Study Subject Finished Rendering Initial Sketch Balance Shape Value Proximity Motion Sheet Space Center of Interest Light and Shade Details Contrast Emphasis Unity Steps

47. BalanceBalance Part of the principle of unity  without balance there could be no unity Establishing the equilibrium that results from having all the parts of the composition so arranged that each receives just its correct share of attention Part of the principle of unity  without balance there could be no unity Establishing the equilibrium that results from having all the parts of the composition so arranged that each receives just its correct share of attention

48. BalanceBalance Every part of a picture has a certain attractive force which acts upon the eye In proportion to its power of attract, it detracts from every other part Every part of a picture has a certain attractive force which acts upon the eye In proportion to its power of attract, it detracts from every other part

49. BalanceBalance If we find our interest in a drawing divided definitely between several parts—if certain tones or lines seem too insistent or prominent—we know that the composition is lacking in balance If we find our interest in a drawing divided definitely between several parts—if certain tones or lines seem too insistent or prominent—we know that the composition is lacking in balance

50. BalanceBalance Each part of a drawing depends on an infinite number of variable circumstances Basic variables: shape, value, proximity, motion, sheet space Each part of a drawing depends on an infinite number of variable circumstances Basic variables: shape, value, proximity, motion, sheet space

51. Balance: Shape Curve-shaped forms has more strength to attract than straight forms of similar size Star-shaped forms or a triangle has more strength to attract than a square or rectangle of similar size

52. Balance: Value Which square will exert strongest force? Dark squareWhite square

53. Balance: Proximity Considerable attention Much less noticeable

54. Balance: Motion [Strothotte et al. 94] A moving object or one which suggests motion will be more prominent than a similar object in repose.

55. Balance: Sheet Space Objects near the edges of the sheet, or in the corners, usually arrest the eye more quickly than they would if nearer the center of the paper.

56. COMPOSITION Principles Selection Study Subject Finished Rendering Initial Sketch Balance Shape Value Proximity Motion Sheet Space Center of Interest Light and Shade Details Contrast Emphasis Unity Steps

57. Center of Interest Assumption: artist is looking mainly in one fixed direction at some interesting object Assumption: artist is looking mainly in one fixed direction at some interesting object

58. Center of Interest The object becomes the center of interest or the point of focus The strongest contrasts and sharpest details appear at this center of interest, and grow less and less distinct towards the edges of the paper. The object becomes the center of interest or the point of focus The strongest contrasts and sharpest details appear at this center of interest, and grow less and less distinct towards the edges of the paper.

59. Center of Interest Every drawing imitative of nature (i.e., landscape, street scenes, buildings) should have the center of interest emphasized, and all else subordinate to it. Be careful not to have two or more centers showing equal emphasis! Every drawing imitative of nature (i.e., landscape, street scenes, buildings) should have the center of interest emphasized, and all else subordinate to it. Be careful not to have two or more centers showing equal emphasis!

60. Center of Interest [Strothotte et al. 94]

61. Center of Interest [Winkenbach and Salesin 94]

62. COMPOSITION Principles Selection Study Subject Finished Rendering Initial Sketch Balance Shape Value Proximity Motion Sheet Space Center of Interest Light and Shade Details Contrast Emphasis Unity Steps

63. Achieving Emphasis Light and Shade Composing with Values Decorative Values Value Studies Exercises in Value CompositionDetails Creating a Focal Point Light and Shade Composing with Values Decorative Values Value Studies Exercises in Value CompositionDetails Creating a Focal Point

64. Achieving Emphasis Contrasts Illusion with Values Interpreting Sunshine Blacker than Black, Whiter than White Modifications Using Contrast for FocusContrasts Illusion with Values Interpreting Sunshine Blacker than Black, Whiter than White Modifications Using Contrast for Focus

65. COMPOSITION Principles Selection Study Subject Finished Rendering Initial Sketch Balance Shape Value Proximity Motion Sheet Space Center of Interest Light and Shade Details Contrast Emphasis Unity Steps

66. Achieving Emphasis : Light and Shade Composing with Values An important compositional device: a single subject, many value schemes Exercise: Draw a simple house with: –Light from left –Light from right –Light from behind –Roofs light, walls dark –Walls light, roofs dark –Building light against dark Composing with Values An important compositional device: a single subject, many value schemes Exercise: Draw a simple house with: –Light from left –Light from right –Light from behind –Roofs light, walls dark –Walls light, roofs dark –Building light against dark

67. Achieving Emphasis : Light and Shade Composing with Values An important compositional device: a single subject, many value schemes

68. Achieving Emphasis : Light and Shade Composing with Values

69. Achieving Emphasis : Light and Shade Composing with Values

71. Achieving Emphasis : Light and Shade Decorative or Conventionalized Values No tonal matching Artist is simply creating a design Exercise: conventionalize treatment with simple values

72. Achieving Emphasis : Light and Shade Decorative or Conventionalized Values No tonal matching Artist is simply creating a design

73. Achieving Emphasis : Light and Shade Value Studies Drawing from Photographs: one of the best approaches! ~ 170 NPR references

74. Achieving Emphasis : Light and Shade Value Studies  Drawing from Photographs Hertzmann, Painterly Rendering with Curved Brush Strokes of Multiple Size, SIGGRAPH '98 Kasao and Nakajima, A Resolution Independent Nonrealistic Imaging System for Artistic Use, ICMCS '98 Sousa and Buchanan, Observational Model of Graphite Pencil Materials, Computer Graphics Forum, 2000. Gooch, Artistic Vision: Painterly Rendering Using Computer Vision Techniques, NPAR 02 Haeberli, Paint By Numbers: Abstract Image Representations, SIGGRAPH '90 S. Schofield. Non-photorealistic Rendering: A critical examination and proposed system. PhD thesis, School of Art and Design, Middlesex University, 1994. Salisbury et al., Interactive Pen-and- Ink Illustration, SIGGRAPH '94 and more…

75. Achieving Emphasis : Light and Shade Value Studies  Exercise: select a photograph and try the following effects: Values kept lighter and more transparent White paper replaces lighter gray tones Dark mass on the left or right: lighter Elements around: less distinct Entire left or right portion: simplified Value Studies  Exercise: select a photograph and try the following effects: Values kept lighter and more transparent White paper replaces lighter gray tones Dark mass on the left or right: lighter Elements around: less distinct Entire left or right portion: simplified

77. Achieving Emphasis : Light and Shade Value Studies Fewer lines and greater freedom Different light rays and shadow masses Most interesting: reversed values for the viaduct and the sky Value reversal is a common composition technique! Value Studies Fewer lines and greater freedom Different light rays and shadow masses Most interesting: reversed values for the viaduct and the sky Value reversal is a common composition technique!

79. Achieving Emphasis : Light and Shade  Achieving Emphasis : Light and Shade  Value Studies

81. Achieving Emphasis : Light and Shade Exercise the following effects in value composition: 1.Dark against light 2.Light against dark 3.Contrived contrasts 4.View through archway 5.Frame of planting 6.A half-frame Exercise the following effects in value composition: 1.Dark against light 2.Light against dark 3.Contrived contrasts 4.View through archway 5.Frame of planting 6.A half-frame

82. Achieving Emphasis : Light and Shade : Achieving Emphasis : Light and Shade : Exercises in Value Composition

83. Achieving Emphasis : Light and Shade The artist was looking at that part of the building nearest to him, so he made this the center of interest; all else is subordinated.

84. Achieving Emphasis : Light and Shade Blurred and indistinct Details + strongest contrasts in light and shade

85. Achieving Emphasis : Light and Shade Rest of the building is subordinated. Strongest contrasts and accents

86. Achieving Emphasis : Light and Shade

87. The artist was looking at the upper part of the tower (center of interest) Achieving Emphasis : Light and Shade Blurred or softened

88. Achieving Emphasis : Light and Shade Faint outline against the sky The artist was gazing down the street (center of interest)

89. COMPOSITION Principles Selection Study Subject Finished Rendering Initial Sketch Balance Shape Value Proximity Motion Sheet Space Center of Interest Light and Shade Details Contrast Emphasis Unity Steps

90. Achieving Emphasis : Details Creating a Focal Point Detailed texturing Vigorous strokes Detailed treatment Creating a Focal Point Detailed texturing Vigorous strokes Detailed treatment

91. Creating a Focal Point Detailed texturingVigorous strokesDetailed treatment Achieving Emphasis : Details

92. Creating a Focal Point Achieving Emphasis : Details

93. Creating a Focal Point Achieving Emphasis : Details

94. Creating a Focal Point

95. COMPOSITION Principles Selection Study Subject Finished Rendering Initial Sketch Balance Shape Value Proximity Motion Sheet Space Center of Interest Light and Shade Details Contrast Emphasis Unity Steps

96. Achieving Emphasis : Contrasts Sousa and Buchanan, Observational Model of Graphite Pencil Materials Computer Graphics Forum, 2000. Majumder and Gopi, Hardware Accelerated Real Time Charcoal Rendering NPAR 02 Sousa and Buchanan, Observational Model of Graphite Pencil Materials Computer Graphics Forum, 2000. Majumder and Gopi, Hardware Accelerated Real Time Charcoal Rendering NPAR 02

97. Achieving Emphasis : Contrasts Combining contrasting tones Eyes go directly to white spot Strong attractive force; Many objects in nature similar to such spots Modifications (contrast indicators)

102. Achieving Emphasis : Contrasts Combining contrasting tones White spot against a dark tone: –Appears even whiter if the dark tone fades gradually to white –Eliminates the strongly contrasting edges that lead the eye away from the spot itself. A dark spot against a white background: Blacker than black Combining contrasting tones White spot against a dark tone: –Appears even whiter if the dark tone fades gradually to white –Eliminates the strongly contrasting edges that lead the eye away from the spot itself. A dark spot against a white background: Blacker than black

103. Achieving Emphasis : Contrasts Illusion with Values Whiter than White (Interpreting Sunshine) Illusion with Values Whiter than White (Interpreting Sunshine) Try It!

105. Achieving Emphasis : Contrasts Blacker than Black Try It!

107. Achieving Emphasis : Contrasts Modifications Try It!

109. Achieving Emphasis : Contrasts Modifications Try It!

111. Achieving Emphasis : Contrasts Where is the Focus?

112. Achieving Emphasis : Contrasts

113. COMPOSITION Principles Selection Study Subject Finished Rendering Initial Sketch Unity Balance Shape Value Proximity Motion Sheet Space Center of Interest Light and Shade Details Contrast Emphasis Steps

114. Basic Principles of Composition Recomposing Forms Powerful strategy Recent in NPR Review Carpendale’s lecture! Recomposing Forms Powerful strategy Recent in NPR Review Carpendale’s lecture!

115. Case Study Automatic Image Creation via Artistic Composition Principles

116. Fulfilling the Purpose : Precision X Art Freedom Kowalski, Hughes, Rubin, Ohya User-Guided Composition Effects For Art-Based Rendering 2001 ACM Symposium on Interactive 3D Graphics pp. 99--102