Hello dear visitors of the interior design school website! Today I want to talk about architectural composition, why it is a very important component of a harmonious interior, and why, and most importantly, how to use it in interior design.
In general, knowledge of the laws of composition is not a specific stage of interior design (interior design steps) - it is the fundamental basis for successful work in any activity related to art, and as a result - interior design.
The process of interior design is closely related to knowledge of the laws of architectural composition. Without knowing the basics of composition it is impossible to create beautiful interior. The construction of interiors according to the laws of artistic composition is what distinguishes the interiors of professionals from the interiors created by amateurs.
For people who do not have an artistic education, composition causes great difficulties and misunderstanding of what it is needed for and how to work with it. However, there are people who intuitively feel the basic laws of composition, which allows them to dress or furnish their home with taste, but there are very few such people. The rest, including many eminent architects and designers, had and still have to comprehend the basics of composition, first in theory (training in various specialized institutions), and then improve it in practice.
It may also seem to beginners that architectural composition and its laws are something intangible and difficult to understand and explain, and what’s even worse: composition is complete nonsense, they say, everyone has their own taste and knows best how best to furnish their apartment or house. However, this is not at all the case, and “beauty” (and beauty is created according to the laws of artistic composition) has its own rules and laws by which it is created.
So, let's try to figure out this “composition” and find out what it is.
Architectural composition- this is the compositional relationship of the elements of the composition, located in a certain, from an artistic point of view, order, and having certain quantitative and quality characteristics, aimed at achieving overall harmony, integrity and expressiveness of an architectural work.
In relation to interior design, the room, as the main design unit, with all the furniture, equipment, and design elements located in it (paintings, lamps, candlesticks), is considered by interior designers to be nothing more than a composition. At the same time, the plan of floors, ceilings, layout of each separate wall rooms are their own separate composition, which needs to be worked on to achieve overall harmony of the entire composition of the room, apartment or house.
Now let's look at the basic rules for creating a harmonious composition:
1. Any composition must have composition center. This could be any piece of furniture, decorative panel, fireplace, etc.
The center of the composition (center of attention) should immediately catch your eye as soon as you enter the room or space. It must dominate and subjugate all other elements of the interior, and most importantly, organize the space of the room. And if there is a center in the composition, then, accordingly, there must be complementary elements subordinate to the center. Those. if there is one element in the composition, then the formation of a harmonious composition will not occur.
Now that you know what elements should be present in any composition, you need to know how these elements are positioned in relation to each other. Any composition has its own specific boundaries, be it a picture frame, a wall or the volume of the entire room. Accordingly, the center of the composition is usually located approximately in the center. The remaining (additional) elements of the composition are grouped around it (the center).
Elements around the center of the composition can be arranged (grouped) according to the laws of symmetry or asymmetry. When grouping elements of an architectural composition through symmetry, an axis is drawn through the compositional center. Elements subordinate to the center of the composition are grouped on both sides of the axis of symmetry. Moreover, the elements must be the same in shape and color, or at least similar to each other.
With an asymmetrical grouping of composition elements, it is impossible to draw a clear axis of symmetry. This composition is based on the principles of balance of elements. An asymmetrical grouping of composition elements looks like this:
In this case, the elements of the composition are always arranged in a certain rhythm (at strictly fixed distances from each other) or freely (without the same distance between the elements).
The asymmetrical arrangement of composition elements is considered a more complex way of grouping elements, and requires some training and experience, so at the first stage, master symmetry well. When you do not have experience in building symmetrical compositions, then it will not be difficult for you to create an asymmetrical composition in the interior.
2. The composition must be balanced. Ideally, all elements of the composition should be evenly distributed throughout the entire volume within their boundaries. There should be no bends in any one direction (one side is filled with elements, the other is empty). If the elements in a composition are unevenly concentrated, then its important requirements are correspondingly violated: balance and stability.
3. All elements of the composition must be interconnected. It should not contain random elements. This relationship is carried out on the basis similarity of elements. Elements can be similar to each other (identity), slightly different (nuance), and very different (contrast) from each other.
In practice, this can be achieved in several ways: by using one unifying color on different elements, uniformity in the shape of elements, and the use of similar and repeating elements.
4. Compositional contrast
Creating harmonious, aesthetically valuable interiors is based on the principle of combining compositional contrasts. This means that interior elements should be divided into main and secondary, elements that are richly decorated and laconic, elements with a complex and simple form.
Through the use of principles compositional contrast and beautiful interiors are created.
And this concludes the lesson on architectural composition and its application in the interior. See you soon at the next lessons of the interior design school.
P.S. If you have any questions regarding the topic of today's lesson, ask them in your comments on this topic.
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Composition - Translated from Latin, the word “composition” (compositio) means composition, combination, adding, composing, connecting parts and putting them in order. At the same time, the composition is often considered as a holistic, artistically significant work created by man. Composition is also defined as a purposefully organized form, the main quality of which is harmonious integrity.
Composition – If nothing can be added or subtracted from the designed product, then it can be classified as an ideal composition. The main meaning of the term “Composition” as a creative process is finding the unity and balanced interaction of the parts that make up the whole. The quality of a composition is determined by harmony and the degree of its expressiveness. Harmony (balance) is the harmonious coherence of the parts of one whole. Expressiveness is the external manifestation of a bright property, feeling or thought. The overall expressiveness of the designed product is influenced by such properties of the composition as proportion, symmetry and asymmetry, meter and rhythm, contrast and nuance, texture, texture, color, scale, etc.
It should be remembered that all parts of the composition, their structure and relationships are subordinated general idea and are united by a common meaning.
Types of composition Planar - a composition consisting of elements that do not protrude above the plane. Its elements are located in two directions: vertical and horizontal.
Types of composition Volume-frontal – a composition that provides for the arrangement of relief parts on one plane. It is developing in three directions.
Types of composition Three-dimensional composition is a composition of interconnected objects placed at different levels and planes and designed to be perceived from all sides. Its expressiveness depends on the angle of view.
Types of composition Deep-spatial - a composition that creates a connection between objects and the space in which they are placed. Can be viewed from all sides, elements are located in different planes.
Compositional principles are based on objective laws of nature and laws of social development. The first to explain our physical existence, orientation in space, physical reactions to environmental influences, biological needs. The latter is determined by human psychology and social consciousness. The dialectical development inherent in matter is reflected in the products of human spiritual activity, in particular in art. The laws of dialectics are directly manifested in the compositional structure of works of art. The very concept of “composition”, meaning connection, comparison, already implies the presence of opposite principles.
Composition – The fundamental physical laws of nature are reflected in the compositional structure. One of the fundamental laws of nature, which plays an important role in the formation of organic and inorganic matter, and also manifests itself in all areas human activity, is the law of gravity. It manifests itself in everything, from the location and movement of the planets to the structure of the insect’s body. The law of gravity, i.e. universal gravity, explains, for example, symmetry, the structure of living organisms (the need for balance), substantiates the laws of motion (laws of mechanics) and the laws of celestial mechanics. In art, the law of gravity determines the role of the vertical, horizontal and diagonal in the composition; it explains the need for balance, the meaning of symmetrical forms, the concept of top and bottom in a picture, etc.
Composition - Another law that has equally universal significance is the law (laws) of the propagation of light in nature, the law of optics. Thanks to the structure of the brain and sensory organs, we perceive light, distinguish colors, shapes of objects and perceive them spatially. The laws of optics and the structure of our visual apparatus determine our perception of space and the resulting discovery of the laws of perspective, an important compositional tool. Visual perception, combined with the ability of touch, allows us to perceive forms as volumetric-spatial structures, which is also reflected in art, in the modeling of volumetric-spatial forms. It can be assumed that such laws of physics and chemistry as the law of conservation of mass, the law of equivalents, the law of constancy of proportions are reflected in one form or another in art, in particular in compositional construction.
Composition – In nature there is a “law of economy”, according to which nature always “looks for the shortest paths and chooses economical solutions (as a result of the process of evolution, natural selection). This law is manifested in the structure of biological forms of the macrocosm and microcosm. The study of these forms showed an amazing relationship and repetition of the same simple shapes, which in certain combinations are repeated in a huge variety of complex forms.
Composition – Spiral (the ability to store information, save energy) Ball (the most economical shape - the smallest surface with the largest volume) Polyhedrons (in nature, the honeycomb shape economically fills space) Pipe (transport channel for the transfer of nutrients, blood) Wood (in the building circulatory system, organization of information objects) Star (tree, when viewed from above) Rays diverge from the center, deliver food, sun. energy to the center. If you bring together living org. forms to geometric ones, we get: ball, cone, cylinder, polyhedra.
Composition - The basis of any picture is a scheme of simple geometric shapes. For what? Yes, because the human eye needs to move along the picture plane, and the diagram gives it a digestible route, such that the viewer’s eye identifies and sees what is needed, and at the same time, the eye does not get bored of wandering along one line and so that the viewer is not drawn to turn away from the picture. Great artists and masters, when painting their works, carefully approached the issue of composition, and made sure that the viewer would be comfortable and pleasant to view their work. As an example, I will give some works, show their diagrams and the route of vision. As you can see, the composition of any work is based on simple geometric shapes - triangles, circles, squares.
Francisco Goya "Swing on the Balcony"
Laws of composition The law of unity and integrity. In all definitions of composition, its main feature is constantly present - the integrity of form. The integrity of the composition and the unity of its elements are manifested in such a quality as harmony. The repetition of the whole in its parts serves the purpose of combining the parts into a whole on the basis of similarity. A harmonious object is characterized by the presence of a leading, repeatedly repeated feature. Such a sign can be, for example, the predominance of right angles or the repetition of the nature of curvature, etc. The subordination of parts as a whole serves to unite parts based on the characteristics of the main and the secondary. The main thing can be highlighted by its larger size, mass or location relative to other elements, shape, color, texture, etc. The proportionality of the parts and the whole serves to harmonize the parts as a whole on the basis of proportional or other types of relationships. The law of the main as a whole shows what the parts of the whole are united around. The balance of the parts as a whole serves to harmonize the forces involved in the work of the whole - attraction, repulsion, etc.
Law of unity and integrity This means that your drawing should be perceived as a whole, regardless of the number of objects depicted on it. The location of objects is very important here. Each of them makes a different impression on a person, and if they are not ordered, the drawing will be chaotic, annoying and will reduce the overall effect of the drawing. All elements must be connected by semantic and spatial arrangement, the composition should be varied, but not colorful.
Law of unity and integrity Dutch still lifes have always been distinguished by a large number of depicted objects, painted with photographic care. And yet, the artists skillfully combined the work with color and tone into one whole.
Means of harmonization of composition Objective phenomena inherent in nature - symmetry, asymmetry, proportionality, contrast, rhythm - perceived by human consciousness, mastered by experience and understood as categories of harmony - are used in the process of artistic creativity as a means of creating an artistic form. With the help of these means, the content is revealed and the form is harmonized. In the specialized literature they are usually called means of harmonization or compositional means.
Means of harmonization can be conditionally divided into several groups, based on the type of relationship between the elements of the whole they represent. 1 group symmetry and asymmetry is characterized by the location of elements relative to the axis or center of rotation. Thanks to symmetry, the right and left parts of the pictorial whole are fixed, the center and the imaginary axis are emphasized. Symmetry implies equivalence, equal size. Thanks to symmetry, the composition acquires stability and balance. Symmetry means kinship, similarity, but can also serve as a means of opposition (a symmetrical image, contrasting in tone or color; opposition of two contrasting figures) in psychological terms. Symmetry gives the image a static look. Asymmetry violates it, but retains its orientation relative to the axis, although it deviates from it. Asymmetry has a dynamic origin.
Means of harmonization can be conditionally divided into several groups, based on the type of relationship between the elements of the whole they represent. Group 2 identity, proportions, modulus, scale is characterized by dimensional relationships between the parts of the whole and between the parts and the whole. Thanks to them, the parts of the whole are commensurate with each other and with the whole: identity - repetition, absolute equality; module repetition of one value in another integer number of times; scale indicates the correlation of sizes - an increase or decrease in a certain number of times of one size relative to another and the relative ratio of objects (for example, a thing and a person); proportions indicate the relationships between sizes. Parts, elements of an artistic whole, interconnected by proportional relationships, a single module or scale, acquire proportionality and thereby harmonize the form.
Means of harmonization can be conditionally divided into several groups, based on the type of relationship between the elements of the whole they represent. Group 3 nuance and contrast indicates the degree of difference and the nature of the difference between the parts and elements of the work. Nuanced relationships, similar in form, tone, color, texture, volume, size, etc., enrich the form with a play of shades and details. Contrasting relationships, opposing the basic elements that characterize the form, are the driving stimulus for the development of the form. Nuance and contrast complement and enrich the friend: contrast emphasizes the nuance, reveals his play; nuance softens and complements contrast. The nuance can also serve independent means expressions when piece of art entirely built on nuanced relationships, similar tones or in one color scheme. Contrast first of all manifests itself in the collision of an object and space, volume and plane, and then in the relationship between objects, spots, lines - in size, shape, color, direction of movement and other manifestations of the elements of form.
Means of harmonization can be conditionally divided into several groups, based on the type of relationship between the elements of the whole they represent. Group 4: meter and rhythm characterizes movement. Meter is the simplest repetition of the same element ( brickwork). Meter and rhythm are fundamentally symmetrical. But rhythm, unlike meter, is based on the alternation of different but repeating elements. As it becomes more complex, it breaks with symmetry (for example, the complex rhythm of a painting), accompanying a willful pattern of movement, changing its character, tempo, and direction. Rhythm can also have a regular character (for example, in an ornament). But he always introduces an organizing principle into a chaotic movement, and without him harmony is unthinkable.
Heterogeneity of the visual field and compositional schemes. Fields and compositional schemes. We call a pictorial field a limited surface, a plane where an image, a picture, is located. This field can be a sheet of paper or a canvas of a certain size and format, or the space of a wall, or the surface of a three-dimensional object (packaging). Characteristic feature The pictorial field is that it is not neutral in relation to what is depicted on it, but has a certain effect on it, since not all points of this field are equivalent. The image depends on the size, aspect ratio, field shape and environment. The inequality of the field stems from the characteristics of our visual perception. As a result, some areas of the field are in the zone of active perception, others are outside it.
If you imagine the field in the form of a regular geometric figure, then it is easy to detect these active points. For example: In a rectangle, the most active points are those lying on the central axis and the horizontal line that intersects it in the optical center: points lying on the diagonals, points indicating the proportions of the golden section; points lying on the boundaries of the oval that fits into a given rectangle.
If you imagine the field in the form of a regular geometric figure, then it is easy to detect these active points. For example: In a square - points lying on the diagonals; points lying at the intersection of diagonals with a circle inscribed in a square; the point of intersection of the diagonals.
If you imagine the field in the form of a regular geometric figure, then it is easy to detect these active points. For example: In a circle - the center of the circle and points around it and just above the geometric center; points lying on the sides of a pentagon inscribed in a circle and on its diagonals.
If you imagine the field in the form of a regular geometric figure, then it is easy to detect these active points. For example: In a triangle - in the area of intersection of the heights of the bisectors and medians. Thus, the geometric figure itself already contains “active points” on which attention is concentrated and therefore it is clear that the composition cannot ignore the impact of these points, due to the specifics of visual perception.
It is known that our gaze, moving within a field not yet filled with an image, makes a series of movements, sliding along imaginary curves and straight lines. This movement cannot be called chaotic, since it has a certain direction, primarily dependent on the geometric shape of the field. In a vertically elongated rectangle, the most characteristic movement is S-shape. A circle is characterized by movement along a circle. Many figures are characterized by horizontal and vertical movement that makes up a cross. The masters of the Renaissance and subsequent eras - Raphael, Poussin, Delacroix, Surikov - attached great importance to compositional structure, recognizing the role of compositional schemes, “main lines”, “active points”, consciously taking into account their impact in their works.
Active zones and field lines impart intensity to the field, due to which image elements, coinciding with different points of the visual field, experience different states. A pictorial element that coincides with the center of a circle or the visual center of a rectangle takes a firm position and does not tend to change its location. Elements that fall into the inactive zone of the field, on the contrary, tend to leave it and find balance. Echoing with other elements that are also in an unbalanced state, or grouping near balanced ones, they, with the help of rhythm and other means of harmonization, come to a state of dynamic balance.
In works of art, we often observe that the main key moments of the composition coincide in their location with the active points of the pictorial field. However, too consistent use of this technique leads to rigidity and monotony of the composition, to the self-sufficient influence of the scheme. Therefore, artists, in search of new compositional possibilities, are looking for such relationships between the elements of the composition and the “active points” of the field that would allow them to achieve a balanced composition without, it would seem, a mandatory coincidence with the active points. This is achieved thanks to the same means of harmonization. For example, instead of placing the main element in the center or on the axis of symmetry, elements that balance each other are placed on opposite sides of the axis, highlighting the main element using contrasting color or tone relationships or other techniques.
Symmetry is based on similarity. It means such a relationship between elements, figures, when they repeat and balance each other. In mathematics, symmetry means the alignment of parts of a figure when moving it relative to an axis or center of symmetry. There are different types of symmetry. The simplest form symmetry is mirror (axial), which occurs when a figure rotates around an axis of symmetry. The symmetry that occurs when a figure rotates around the center of rotation is called central. The ball has the highest degree of symmetry, since an infinite number of axes and planes of symmetry intersect at its center. Absolute, rigid symmetry is characteristic of inanimate nature- crystals (minerals, snowflakes). Organic nature and living organisms are characterized by incomplete symmetry (quasi-symmetry), (for example, in the structure of a person).
Symmetry Violation of symmetry, asymmetry (lack of symmetry) is used in art as an artistic means. A slight deviation from correct symmetry, that is, some asymmetry, disrupting balance, attracts attention, introduces an element of movement and creates the impression of a living form. Different types of symmetry have different effects on the aesthetic sense: mirror symmetry - balance, peace; helical symmetry evokes a sense of movement. Khzmbidj classifies all simple geometric figures as static symmetry (dividing all types of symmetry into static and dynamic), and includes a spiral as dynamic symmetry. Static symmetry is often based on a pentagon (cut of a flower or fruit) or a square (in minerals). In art, strict mathematical symmetry is rarely used.
Rhythm is a uniform alternation of dimensional elements, the order of combination of lines, volumes, planes. However, rhythm is characteristic not only of movement, but also of a static object. For example, in architectural structures, the rhythmic distribution of windows vertically and horizontally. Rhythm can also be observed in planar images: patterns on wallpaper, carpets, and fabrics. We can observe a particularly vivid manifestation of rhythm in animals and flora. The simplest manifestation of rhythm with a characteristic repetition in a composition of identical forms at equal intervals can be observed in the arrangement of columns of ancient temples, in the uniform arrangement of machines of the same type in a workshop, in the arrangement of buttons on devices, etc.
Rhythm The organizing role of rhythm in a composition is more active, the stronger the manifestation of this pattern. Rhythm can be weakly expressed, when changes in alternations or the elements themselves are barely noticeable, but it can also be so strong and powerful that it becomes the leading beginning of the composition. Color rhythm is widely used, in particular in production: the color of premises, equipment, workplaces, workwear, communications. Color rhythm creates a unique color climate. Metrical order is characterized by the equality of elements located at equal distances from each other, such as, say, rows of windows of residential buildings, identical ribbons encircling floors, spans of bridges, etc. Taking into account the possibility of combining metric and rhythmic order, three main rhythmic categories can be outlined: metric order, rhythmic order, metrhythmic order. There is a rhythm that increases and decreases. The endless repetition of any one metric series can eventually seem monotonous and tedious.
Mathematical laws of composition. Square and rectangle. In the compositional structure of works of art and design, the proportions of rectangles and other geometric shapes into which a given work or its main parts fit are important. Therefore, we should consider the rectangles that found the most wide application due to its harmonic properties. The square as a structural form has been known for a long time. He attracted the attention of artists Ancient world and the Renaissance. The drawing by Leonardo da Vinci depicts the connection between a square and a circle with the human figure, known to the ancients (Vitruvius). Renaissance artists - the German Durer, the Italian Pacioli, the Frenchman Tory, when developing the outline of letters, proceeded from the shape of a square; a letter with all its elements fit into a square, although not all letters were equated to a square, but the overall compositional structure was determined by the square.
Mathematical laws of composition. Square and rectangle. The ancient Greeks of the classical era preferred rectangles C 2 and C 5, Hambidge claims that 85% of works of Greek classical art are built on the rectangle C 5. Being divided vertically and horizontally into two parts, it restores its proportions. This rectangle can be divided into a square and two small rectangles of the golden ratio. In addition, two golden ratio rectangles are visible in it, overlapping each other by the size of a square. The remaining part is also a rectangle of the golden ratio. Thus, rectangle C 5 exhibits rhythmic properties.
Mathematical laws of composition. Square and rectangle. Rectangle Ts 2 is also widely used, especially in the field of applied graphics. It is used as a paper format for business documents because it has amazing property, - when divided in half, it does not change its proportions. When divided, a number of similar rectangles are formed, harmoniously interconnected by the unity of form. Proportions of sides in a rectangle Ts 2, used in the Portatman standard.
Mathematical laws of composition. Square and rectangle. Based on prka Ts 2, standardization and unification of the formats of books, papers, business documents, postcards, posters, folders and other objects related to applied graphics was carried out. This standard, known as the Dr. Porstmann standard, has been adopted in 17 European countries. The standard was based on a format of 841 x 1189 mm and an area of 1 m2. The remaining formats that make up its shares were derived from it: 1 m² - 841 x 1189 mm 1/2 m² - 594 x 841 mm 1/4 m² - 420 x 594 mm 1/8 m² - 297 x 420 mm (double sheet) 1/16 m² - 210 x 297 mm (sheet for business correspondence, forms) 1/32 m² - 148 x 210 mm (half sheet for business correspondence, forms) 1 /64 m² - 105 x 148 mm (postcard) 1/128 m² - 74 x 105 mm (business card) The standard also provides additional formats 1000 x 1414 and 917 x 1297 and their fractions. The following sizes are available for envelopes: 162 x 229 and 114 x162 (the standard is not shown in full).
Mathematical laws of composition. Proportions. The principle of the golden ratio. Even in ancient times, man discovered that all phenomena in nature are connected with each other, that everything is in continuous movement, change, and, when expressed in numbers, reveals amazing patterns. IN Ancient Greece During the classical era, a number of teachings about harmony arose. Of these, the Pythagorean teaching left the deepest mark on world culture. The followers of Pythagoras imagined the world, the universe, space, nature and man as a single whole, where everything is interconnected and in harmonious relationships. Harmony here acts as the beginning of order - the ordering of chaos. The Pythagoreans tried to mathematically substantiate the idea of the unity of the world, they argued that the basis of the universe is symmetrical geometric shapes. They examined the proportions human body and approved the mathematical canon of beauty, according to which the sculptor Polykleitos created the statue “Canon”. All classical art Greece bears the stamp of the Pythagorean doctrine of proportions. Its influence was experienced by scientists of the Middle Ages, science and art of the Renaissance, the New Age, right up to the present day.
Thus, proportionality, the proportionality of the parts of the whole, is the most important condition for the harmony of the whole and can be expressed mathematically through proportions. Proportion means the equality of two or more ratios. There are several types of proportionality: mathematical, harmonic, geometric, etc. In mathematical proportionality, the equality of two relations is expressed by the formula a: b = c: d, and each member of it can be determined through the other three. There are 3 elements in harmonic proportion. They are either pairwise differences of a certain triple of elements, or these elements themselves, for example: a: c = (a - b) : (b - c) In geometric proportion there are also only 3 elements, but one of them is common: a: b = b : With
Thus, proportionality, the proportionality of the parts of the whole, is the most important condition for the harmony of the whole and can be expressed mathematically through proportions. A type of geometric proportion is the proportion of the so-called “golden section”, which has only two terms “a” and “b” - a favorite proportion of artists, which in the Renaissance was called the “divine proportion”. The peculiarity of the golden section proportion is that the last term in it represents the difference between the two previous terms, i.e.: a: b = b: (a - c) The ratio of the golden section is expressed by the number 0.618. The golden section proportion: 1 : 0.618 = 0.618: 0.382
Thus, proportionality, the proportionality of the parts of the whole, is the most important condition for the harmony of the whole and can be expressed mathematically through proportions. If a straight line segment is expressed in terms of one, and then divided into two segments according to the golden ratio, then the larger segment will be equal to 0.618, and the smaller one will be 0.382. In Fig. shows the division of the segment into parts according to the golden ratio.
Mathematical laws of composition. Golden ratio rectangle. Based on the proportion of the golden section, a series of numbers was constructed, remarkable in that each subsequent number turned out to be equal to the amount two previous ones: 1, 1, 2, 3, 5, 8, 1 3, 21, etc. This series was discovered by the Italian mathematician Fibonacci and is therefore called the Fibonacci series. It has the property that the ratios between neighboring terms, as the numbers of the series increase, increasingly approach 0.6 18, that is, the ratio of the golden ratio. Scientists associate the proportions of the golden section with the development of organic matter. The golden ratio was discovered in objects of living nature - in the structure of shells, wood, in the arrangement of sunflower seeds, in the structure of the human body, and it was also observed in the structure of the universe in the arrangement of planets.
Mathematical laws of composition. Golden ratio rectangle. In relation to the golden ratio there are also elements of geometric shapes - a pentagon, a star.
Mathematical laws of composition. Golden ratio rectangle. In a golden ratio rectangle, the sides are in the ratio of the golden ratio. This rectangle contains a square and a small rectangle of the golden ratio (its large side is the small side of the original rectangle). Therefore, you can build a golden ratio rectangle on the base of a square: the side of the square is divided in half, a diagonal is drawn from that point to the top, with the help of which a golden ratio rectangle is built on the side of the square
Mathematical laws of composition. Golden ratio rectangle. If we connect the vertices of the squares of a curve, we will get a logarithmic curve, an infinitely growing spiral, which is called the “development curve”, “spiral of life”, because it seems to contain the idea of infinite development.
Mathematical laws of composition. Golden ratio rectangle. The endless repetition of the golden ratio rectangle and the square when dissecting the golden ratio rectangle reveals the repetition of the whole in its parts, which is one of the conditions for the harmony of the whole. This property of the golden ratio rectangle was discovered by artists and they began to use golden ratio as a way of harmonization, a way of proportioning. Phidias used the golden ratio when building the Acropolis (5th century BC). During the Renaissance, the golden ratio was used not only in architecture, sculpture, painting, but also in poetry and music. Dürer, Leonardo da Vinci and his student Luca Pacioli used the golden ratio in search of harmonious proportions of letters.
Mathematical laws of composition. We find the golden ratio rectangle in the proportions of medieval handwritten books, and in modern book, since the harmonious proportions of the golden ratio allow you to beautifully organize the space of a book page and spread. Diagram of the ideal proportions of a medieval manuscript. The proportions of the page are 2: 3, and the plane occupied by the letter is in the proportion of the golden section.
Mathematical laws of composition. Golden ratio rectangle. One of the ways to determine the size of a set strip for a given format.
Module Le Corbusier proposed modular system, linking it with the dimensions of the human figure and with the proportions of the golden section (“Moduler”). Based on the size 183 cm (height standing man) and 226 cm (the height of a person with his arm raised), Le Corbusier constructed mathematical series. “Red scale” - 183 cm, 113 cm, 70 cm. 43 cm. 27 cm and “blue scale” - 226 cm, 140 cm. 86 cm, etc. Each row of numbers is interconnected by the proportions of the golden ratio. It is interesting to note that the numbers of the “blue scale” are formed by doubling the previous numbers of the “red scale”. But the most remarkable thing about these ranks is... that almost all of the indicated dimensions are in one way or another related to a certain position of the human figure in space.
Scale To characterize the proportionality of objects, the whole and its individual parts, as well as an object and a person, the concepts of scale and magnitude are used. The perception of the real size of objects arises only in comparison with each other. The concept of scale has passed into design from architecture and is an important characteristic of the subject. It is based on a comparison of the size of the object in question and our ideas about this size. Deviation from this causes internal protest, and with it aesthetic dissatisfaction. What are the specific signs of “scale” in nature? For large, mature organisms, these are contrasting ratios of body parts (for example, the ratio of the size of the head to the body). It is enough to compare their ratio in a child and an adult, a puppy and a dog. In plants, the “chain” of relationships may vary in complexity: in young tree it is simpler (trunk - branch - leaf), while for a large one it is trunk - branch - branch - small branch - leaf.
Scale How do we achieve the determination of the required, optimal scale and by what means? First of all, by choosing a size that corresponds to our ideas and does not violate the relationship of the object with a person or with the material environment (objects, architecture) and space. The so-called scale measures are of great importance. These are parts that have a “hard” functional purpose and a value known to us. In architecture this is height stair railings, steps, seats. In a wheeled vehicle, the height of the cabin is always designed for growth. person. The other extreme is oversimplification, which is perceived as rudeness. By minimizing or exaggerating the scale, the designer changes the artistic appearance of an object or environment. Along with the understanding of scale as the proportionality of environmental forms with a person, there is an interpretation of scale as a means of composition, a means of solving ideological and figurative problems. There are such concepts as “large scale” and “small scale”. A large-scale structure is characterized by great laconism of forms and large divisions, which gives it the impression of monumentality.
The AUTHOR himself sets the law by which the perfection of his work is judged. He CHOOSE those contrasts that will create the sound, melody, strength he needs - and finds ways to keep this diversity together as ONE.
1) Types of plant material according to functional purpose.
2) Signs (terms) of a harmonious composition. Elements of composition.
3) Composition tools
4) Principles of constructing a flower arrangement.
Plant material is divided into three types according to its functional purpose:
1) Linear (formative) – is the basis (framework) of the composition, which sets the height and width of the composition. These can be tall stems of herbs, flowering plants, branches, or a curved vine.
2) Focus – is the main (dominant). They can be large or bright flowers, flowers interesting shape etc. Focal material is used in any composition to attract visual attention.
3) Filler material is small-flowered plants or leaves, which are used to disguise fasteners, vessels, fill the voids of the composition and give it additional color shades.
4) In addition to flowers, you can use a variety of twigs and fruits of trees and shrubs, vines, cereals, vegetables and fruits. The green mass balances contrasts and evens out the background.
Signs of composition.
1) Integrity.
2) The presence of a dominant.
3) Balance.
Elements of composition.
1) Lines. Particularly relevant for linear compositions
2) Mass is a concentration of color in one place, often made up of small colors that are difficult to use individually. It can also be formed from leaves or needles. The mass thickens the color of individual colors, creates an accent, creates visual sensations of weight and strength.
3) Color is a means of creating an expressive composition that evokes certain emotions. Much attention is paid to the color combination of flowers, vase and background.
4) Color and shape of vessels - for the composition you should select simple, modest vases, not too bright, not painted. The universal colors of vessels are: white, black, gray, green.
5) Space (emptiness) – can be important decorative element in many flower arrangements. The alternation of empty and filled spaces sets a rhythmic, massive style, suggesting complete filling of the void, and linear - freedom and lightness.
6) Background – should form a harmonious whole with the plants and vase. The background can transform the arrangement, enhance its impact or “kill” it. Multi-colored bouquets are lost against a motley colored background, and monochromatic bouquets merge with a pale background of the same shades.
7) Texture – (structure, nature of the surface) rough, smooth, glossy, matte, rough and delicate.
8) The number of colors - must be taken into account for a harmonious arrangement and harmonious perception. Flowers, branches and greenery should not crowd or cover each other. The more different colors placed together, the more difficult it is to perceive and the worse it is preserved due to different biological conditions of detention.
1) The dominant is the main part of the arrangement; first of all, it should not overwhelm other elements. A spectacular accent can be a beautiful flower or a group of them, an original large leaf, a beautiful line or even emptiness. All other components of the composition are subordinate to it, enhancing its impact on the audience.
2) Volume – in any arrangement the height, width and depth should be clearly visible. The arrangement will not be expressive if there is the same distance between its main components or additional plants are placed at equal intervals. Flowers and branches should create the impression of volume, diversity, i.e. they should not be located in the same plane. Elements should be located on different heights, which makes the bouquet voluminous, but without disturbing the rhythm and balance.
3) Rhythm (repetition) - with good rhythm, both form and color alternate in the composition. Rhythm can be created by changing the size of the flower (from large in the center or bottom to medium and small at the top and periphery), from bright to dull, from lighter to darker, from rough to soft, etc.
4) Contrast is a frequent technique in arrangements, creating intrigue, emotionality, and expressiveness. (large leaf and thinly curved branch, glossy surface and pubescent leaves, laconicism and intricate lines). Contrast gives the arrangement dynamics.
5) Proportionality is maintaining the proportion between the vessel and the elements of the arrangement. The classic ratio is 3x5x8 (the golden ratio rule). For a low vase, let’s take its width as three parts; the height should be equal to five parts. When choosing the proportions of plants and vases, the structural features of the plant material are taken into account. Some plants look better in low, squat vases, others in tall ones.
6) Balance is the visual and physical balance of the composition. A visually balanced composition is perceived as heavier at the base (neck) of the vessel and lighter further away from it. It is achieved by distributing colors, sizes and creating different plant densities within the form. Dark tones (dark red, blue, purple, brown, black) are perceived as heavy. Light - light colors (pink, white, blue, yellow, orange). Undefined colors include green and gray.
7) Scale is the ratio of the size of the bouquet and the size of the room.
1) Each flower should be clearly visible and not buried in greenery. To do this, as necessary, leaves are removed from living or artificial ones, leaving the most beautiful and necessary ones.
2) Any composition must have a focal point, it should not be too expressive, otherwise the entire arrangement loses its meaning.
3) The arrangement can be one-sided (frontal) or circular. Single-sided arrangements are made up of flowers with different lengths of stems so that only front side. Plants with a long peduncle are placed in the background, with a short one in the foreground. Flowers should be directed towards the viewer, and greenery can fill the composition from all sides. More than one is placed in the center large leaves or brighter colors. Frontal compositions can be small or large. Circular arrangements are made so that the flowers are visible from all sides, they are unfolded so that they look towards the outside of the composition and are not turned inward. Tall plants are placed in the center, shorter and curved plants are placed in a circle on all sides. Arrangement greenery is placed inside and outside the arrangement.
4) In any arrangement, vertical stems should not intersect; this is permissible only when there is a special design.
5) To emphasize the color of flowers in a composition, you need to take many flowers, but to show the original structure of the flower, one or two (iris, lily) is enough.
Your design can have the most beautiful graphic elements in the world, but if it doesn't have the right composition, it's all in vain.
So, it's safe to say that composition in web design is extremely important. What is the composition? Speaking in simple words, this is how individual elements web design form the overall picture of the project.
Proper composition means that you have arranged, distributed, coordinated and compiled your project so that it not only looks good, but is also functional and effective. So, let's look at a few techniques for creating harmonious composition in your web design.
The key element of any good composition is to correctly direct (focus) the user’s gaze on the most important elements design.
When choosing a focal point, remember that the main goal of your design is to “communicate” the user with the site. The correct choice of focus determines the effectiveness of such communication.
There are some methods to determine the focal point in a design, such as scale, contrast, etc. We will discuss these methods later. Now let's analyze an example.
This is the work of Matthew Metz for the retailer fashionable clothes Nordstrom, so the focus is on the model and her clothes. So she was placed in the center and the orange circle was placed in a way that highlights and draws attention to her face and then to her outfit. In addition, the image contains white leading lines that direct the user's eye to the text information below.
Also in the following design example. The focus is on the person in the center. This is achieved not only by placing the character in the center, but also by “framing” him with graphics consisting of hand-drawn images.
When you want a person to look somewhere, you point with your hand or finger. In the case of design, leading lines and shapes are used for this. Take a look at how this is used in the example below.
Leading lines can also lead you to different levels of information. By positioning and changing the appearance and shape of the guide lines, you can create a hierarchy of targets for the user's gaze. An example of such a technique is below.
Of course, not every design you create has such obvious leading lines. Their use is achieved by connecting or combining different elements. An example of this technique is the following poster, which uses the line of the person's left hand to lead the eye from the logo to the person and down to the bottom of the poster.
Scale and hierarchy are the fundamental elements that can truly make or break your entire design. Therefore, it is very important to control them in order to get a good composition.
Hierarchy is the arrangement of elements in a design that visually characterizes their importance. For example, more important elements are made larger and sometimes brighter than minor ones. Hierarchy is of great importance especially when we're talking about about typography.
Scale is often used to show hierarchy by directing attention to important elements, thereby indicating their importance in conveying information. Scale is also used to convey proportion and a sense of size to your design. You can create elements that are incredibly detailed, intricate and tiny, or large and general.
For example, the poster below uses scaled-down silhouettes of two people to convey the grandeur of the view opposite them.
By using contrast in the scales of elements, you can create different effects.
Balance is important in many ways. And your projects are no exception.
But how can we find this perfect balance in our projects? To do this, consider two general type balance.
Symmetrical balance. Creates symmetry in the project. By arranging important elements from right to left, from top to bottom, you create the right sense of balance for the user.
Asymmetrical balance is achieved by proportional dispersion and scaling of elements.
In the example above, the three center circles are the largest in the design. But they are balanced by the use of correct typography, leading lines and a small but clearly drawn circle in the lower left corner.
A good way to create asymmetrical balance is to imagine that each element has real weight. Small objects weigh less, large objects do the opposite. You can also imagine that weight is affected by the clarity of an object's texture (clearer ones weigh more). Thus, arranging the elements so that they do not outweigh each other.
Use elements that complement each other.
Have you heard about complementary colors in web design? What about additional elements?
A good and effective composition is achieved when each element complements another, creating an overall picture. A common mistake in composition is choosing images that don't match each other. Therefore, when using several images in a composition, strive to ensure that they are combined. To do this you need to follow a few tips
Contrast is an incredibly useful tool for indicating the importance of elements in your web design. By increasing contrast or using a contrasting color, you can bring an element to the foreground or hide it.
White space in a design, if used correctly, can help add clarity to a design and improve general form, balancing the more complex and lively design elements.
Here are a couple of ways to use white space in your project:
When creating a composition of elements in a design, you should never just throw them all at once on the page, because aligning elements is a quick and easy way to take a design from mediocre to great.
Aligning elements allows you to create a logical order in your web design that distributes many elements.
The basics of composition in graphic design include many aspects that can be taken into account to achieve excellent results.
I present to your attention the next article in the series on the basics of graphic design. In it I want to talk about basic laws of composition. Very often these laws are called design principles, but in my opinion, design is a fairly extensive science, and it has completely different principles. Their description can be found in books on the basics of design theory and methodology.
So, first of all, I propose to remember the concept of composition.
Composition is the organization, arrangement and connection of various graphic elements, the art of their placement, the most important component of the artistic form, the heart of graphic design. When there is no composition, there is no design.
The arrangement of elements occurs in a logical sequence that determines the perception of the work as a whole.
The most important laws of composition I think the following:
In the picture on the left, two circles are in a state of equilibrium; if we separate them, then individually they will look unbalanced. In the picture on the right, the same pair of circles, but shifted relative to the axes of the square, looks unbalanced.
The most obvious example of a balanced composition is symmetry, although balance is not always symmetrical. As you probably guess, achieving balance in asymmetry is more difficult.
Take a look at the example:
When applied to composition in graphic design, one way to test integrity is to cover part of an image, and the message it conveys should change. If it changes, then the composition is complete.
I would like to immediately warn against possible misunderstandings: the semantic center is in no way connected with the geometric center of the composition. Also, there may be more than one compositional center.
To get more complete knowledge I advise you to turn to books where the basic laws of composition are most fully understood (in relation to fine arts). In you will find a couple of such books.
The skills of creating the right composition are very important for a graphic designer. I want to emphasize the word “ skills", because knowledge that you cannot apply in practice is worth nothing. Therefore, be sure to exercise, devote 20 minutes to 1 hour to it every day, and the result will be obvious!
As usual, I wish you success in your endeavors, more perseverance and patience!
