Composition is the "placement or arrangement of visual elements or ingredients in a work of art" (www.wikipedia.com)
There are 7 basic types of composition; Classical 'U', Lazy 'S', Pyramidal, Chain, Vignette, Titian's formula and the Golden section.
Classical 'U' Shaped Composition
Although classical compositions are commonly described as having a “U”- shaped structure, the true shape is closer to a “J”. This subtle change to the “J” shape creates a vertical on the right side preventing the eye from wandering out of the composition in a left-to-right reading In many “U”-shaped compositions, the foreground features everyday (temporal) concerns whereas the distance features an almost spiritual realm. The vista leads to an important point of interest.
The use of lighting and shade in U-shaped compositions had important social implications. In the Eighteenth Century the socially significant were highlighted, while the socially insignificant were rendered in the shadow.
Lazy 'S' Composition
A winding shape from foreground to distance will exemplify the “S”-shaped rhythm, binding the composition together. Usually, the road in the foreground starts from the left to invite a left-to-right reading. The rythem of a lazy S composition will take you back into the painting. The beginning of the S always starts on the left side of the painting.
Pyramid
The pyramidal structure lends a sense of calm and formal dignity to projected meanings. Artists wishing to illustrate classical myths and ideals (in the form of allegories) often employ this structure. The most noteable example of a pyramid shaped composition is the Mona Lisa.
Chain
The chain composition has many links, like links in a chain, and these interlocking rhythms tie the key features together. This linking of pictorial components occurs both two and three- dimensionally. As these links are not all on the same plane, it gives the painting a feeling of depth.
Vignette
The vignette focuses a viewer’s attention on key features. It is a device commonly applied in portraiture, especially in miniatures. A vignette is where an artwork fades out around the edges. Sometimes artists will use the vignette device to replicate the lost of focal clarity at the periphery of our vision.
Titian's Formula
Charles Ricketts uses this term to describe a checkerboard effect of light and dark areas that give life to an image. It is not a text book term.
(Charles Ricketts [1908] Burlington Magazine, Vol. 13, No. 61, p. 10; [online]
http://www.jstor.org/view/09510788/ap020061/02a00050/1?frame=noframe&userID=89db107d@jcu.edu.au/01cce4405b00501b86ad1&dpi=3&config=jstor
[viewed 12.2.2007])
This formula is used to stimulate the eye. The name 'Titian's formula' is based on the artist Titian, who was a leading Venetian painter in the 16th century. He was the first artist noticed to practice this technique. Not only did Titian work with patterns of light and dark in many of his paintings, he also carefully balanced his compositions with colour.
Golden Section
According to the Thanks & Hudson Art Dictionary, a golden section is a "traditional proportion which is supposed to express the secret of visual harmony. In its simplest form it consists of a line divided into two so that the smaller part is to the larger as the larger is to the whole. The ratio 1:φ (1:1.6180339…) is 'irrational', i.e. inexpressible in whole numbers. It is roughly equivalent to 8:13" (www.credoreference.com)
In classical compositions key features are arranged on the two vertical and horizontal Golden Section divisions. The Golden section was used especially in the Renaissance.
The Golden sectioon is used to help your eye 'step' backwards into the piece, by having lines at significant intervals.
There are 7 basic types of composition; Classical 'U', Lazy 'S', Pyramidal, Chain, Vignette, Titian's formula and the Golden section.
Classical 'U' Shaped Composition
Although classical compositions are commonly described as having a “U”- shaped structure, the true shape is closer to a “J”. This subtle change to the “J” shape creates a vertical on the right side preventing the eye from wandering out of the composition in a left-to-right reading In many “U”-shaped compositions, the foreground features everyday (temporal) concerns whereas the distance features an almost spiritual realm. The vista leads to an important point of interest.
The use of lighting and shade in U-shaped compositions had important social implications. In the Eighteenth Century the socially significant were highlighted, while the socially insignificant were rendered in the shadow.
Lazy 'S' Composition
A winding shape from foreground to distance will exemplify the “S”-shaped rhythm, binding the composition together. Usually, the road in the foreground starts from the left to invite a left-to-right reading. The rythem of a lazy S composition will take you back into the painting. The beginning of the S always starts on the left side of the painting.
Pyramid
The pyramidal structure lends a sense of calm and formal dignity to projected meanings. Artists wishing to illustrate classical myths and ideals (in the form of allegories) often employ this structure. The most noteable example of a pyramid shaped composition is the Mona Lisa.
Chain
The chain composition has many links, like links in a chain, and these interlocking rhythms tie the key features together. This linking of pictorial components occurs both two and three- dimensionally. As these links are not all on the same plane, it gives the painting a feeling of depth.
Vignette
The vignette focuses a viewer’s attention on key features. It is a device commonly applied in portraiture, especially in miniatures. A vignette is where an artwork fades out around the edges. Sometimes artists will use the vignette device to replicate the lost of focal clarity at the periphery of our vision.
Titian's Formula
Charles Ricketts uses this term to describe a checkerboard effect of light and dark areas that give life to an image. It is not a text book term.
(Charles Ricketts [1908] Burlington Magazine, Vol. 13, No. 61, p. 10; [online]
http://www.jstor.org/view/09510788/ap020061/02a00050/1?frame=noframe&userID=89db107d@jcu.edu.au/01cce4405b00501b86ad1&dpi=3&config=jstor
[viewed 12.2.2007])
This formula is used to stimulate the eye. The name 'Titian's formula' is based on the artist Titian, who was a leading Venetian painter in the 16th century. He was the first artist noticed to practice this technique. Not only did Titian work with patterns of light and dark in many of his paintings, he also carefully balanced his compositions with colour.
Golden Section
According to the Thanks & Hudson Art Dictionary, a golden section is a "traditional proportion which is supposed to express the secret of visual harmony. In its simplest form it consists of a line divided into two so that the smaller part is to the larger as the larger is to the whole. The ratio 1:φ (1:1.6180339…) is 'irrational', i.e. inexpressible in whole numbers. It is roughly equivalent to 8:13" (www.credoreference.com)
In classical compositions key features are arranged on the two vertical and horizontal Golden Section divisions. The Golden section was used especially in the Renaissance.
The Golden sectioon is used to help your eye 'step' backwards into the piece, by having lines at significant intervals.
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