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Elevii vor învăța să definească termenul de 'compoziție' în context artistic și să identifice aplicațiile acestuia în diverse domenii ale artelor vizuale.

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Elevii vor înțelege scopurile și conținuturile disciplinei Studiul compoziției.

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Disciplina va explora rolul compoziției în artele vizuale, oferind exemple aplicate.

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The term composition means "putting together". It can be thought of as the organization of the elements of art according to the principles of art. Composition can apply to any work of art, from music through writing and into photography, that is arranged using conscious thought.

In the visual arts, composition is often used interchangeably with various terms such as design, form, visual ordering, or formal structure, depending on the context. In graphic design for press and desktop publishing, composition is commonly referred to as page layout.

The composition of a picture is different from its subject (what is depicted), whether a moment from a story, a person or a place. Many subjects, for example Saint George and the Dragon, are often portrayed in art, but using a great range of compositions even though the two figures are typically the only ones shown.

The central visual element, known as element of design, formal element, or element of art, constitute the vocabulary with which the visual artist compose. These elements in the overall design usually relate to each other and to the whole art work.

The elements of design are:

Line - the visual path that enables the eye to move within the piece

Shape - areas defined by edges within the piece, whether geometric or organic

Color - hues with their various values and intensities

Texture - surface qualities which translate into tactile illusions

Value - Shading used to emphasize form

Form - 3-D length, width, or depth

Space - the space taken up by (positive) or in between (negative) objects

Lines are optical phenomena that allow the artist to direct the eye of the viewer. The optical illusion of lines do exist in nature, and visual arts elements can be arranged to create this illusion. The viewer unconsciously reads near the continuous arrangement of different elements and subjects at varying distances. Such elements can be of dramatic use in the composition of the image. These could be literal lines such as telephone and power cables or rigging on boats. Lines can also derive from the borders of different colors or contrast or sequences of discrete elements. Movement is also a source of lines, where the blurred movement renders as a line.

Subject lines contribute to both mood and linear perspective, giving the viewer the illusion of depth. Oblique lines convey a sense of movement, and angular lines generally convey dynamism and possibly tension. Lines can also direct attention towards the main subject of the picture or contribute to the organization by dividing it into compartments. The artist may exaggerate or create lines, perhaps as part of their message to the viewer. Many lines without a clear subject point suggest chaos in the image and may conflict with the mood the artist is trying to evoke.[citation needed ]

Straight left lines create different moods and add affection to visual arts. A line's angle and its relationship to the frame's size influence the perspective of the image. Horizontal lines, commonly found in landscape photography, can give the impression of calm, tranquility, and space. An image filled with strong vertical lines tends to have the appearance of height and grandeur. Tightly angled convergent lines give a dynamic, lively, and active effect to the image. Firmly turned, almost diagonal lines produce tension in the picture. The viewpoint of visual art is fundamental because every different perspective views different angled lines. This change of perspective elicits a different response to the image. Changing the air only by some degrees or some centimeters lines in embodiments can vary tremendously, and a distinct feeling can be transported. Straight lines are also strongly influenced by tone, color, and repetition concerning the rest of the image.

Compared to straight lines, curves provide a greater dynamic influence in a picture. They are also generally more aesthetically pleasing, as the viewer associates them with softness. In photography, curved lines can give graduated shadows when paired with soft-directional lighting, which usually results in a very harmonious line structure within the image. There are two main types of curves, a simple "C" curve as well as well as a more sinuous "S" curve.

There are three properties of color: hue, brightness or chroma, and value. Hue is the name of a color (red, yellow, and blue, etc.). Brightness and chroma refer to the intensity and strength of the color. A high chroma color is more pure and less greyed than a low chroma color. The lightness or darkness to a color is the value. Color also has the ability to work within our emotions. Given that, we can use color to create mood. It can also be used as tone, pattern, light, movement, symbol, form, harmony, and contrast.

Texture refers to how an object feels or how it looks like it may feel if it were touched. There are two ways we experience texture, physically and optically. Different techniques can be used to create physical texture, which allows qualities of visual art to be seen and felt. This can include surfaces such as metal, sand, and wood. Optical texture is when the illusion of physical texture is created. Photography, paintings, and drawings use visual texture to create a more realistic appearance.

Lightness and darkness are known as value in visual art. Value deals with how light reflects off objects and how we see it. The more light that is reflected, the higher the value. White is the highest or lightest value while black is the lowest or darkest value. Colors also have value; for example, yellow has a high value while blue and red have a low value. If you take a black and white picture of a colorful scene, all you are left with are the values. This important element of design, especially in painting and drawing, allows the artist to create the illusion of light through value contrast.

The term form can mean different things in visual art. Form suggests a three-dimensional object in space. It is also described as the physical nature of the artwork, such as sculptures. It can also be looked at as art form, which can be expressed through fine art. A form encloses volume, has length, width, and height, unlike a shape, which is only two-dimensional. Forms that are mathematical, a sphere, pyramid, cube, cylinder, and cone, are known as geometric forms. Organic forms are typically irregular and asymmetrical. This form can be found in nature, such as flowers, rocks, trees, etc., but can also be seen in architecture.

Forms in drawing and painting convey the illusion of three-dimensional form through lighting, shadows, value, and tone. The more contrast in value, the more pronounced the three-dimensional form is. Forms with little value appear flatter than those with greater variation and contrasting.

Space is the area around, above, and within an object. Photographers can capture space, architects build space, and painters create space. This element is found in each of the visual arts. It can be positive or negative, open or closed, shallow or deep, and two-dimensional or three-dimensional. In drawing or painting, space is not actually there, but the illusion of it is. Positive space is the subject of the piece. The empty spaces around, above, and within, is negative space.

The artist determines what the center of interest (focus in photography) of the art work will be, and composes the elements accordingly. The gaze of the viewer will then tend to linger over these points of interest, elements are arranged with consideration of several factors (known variously as the principles of organization, principles of art, or principles of design) into a harmonious whole which works together to produce the desired statement - a phenomenon commonly referred to as unity. Such factors in composition should not be confused with the elements of art (or elements of design) themselves. For example, shape is an element; the usage of shape is characterized by various principles.

Some principles of organization affecting the composition of a picture are:

Shape and proportion

Positioning/orientation/balance/harmony among the elements

The area within the field of view used for the picture ("cropping")

The path or direction followed by the viewer's eye when they observe the image.

Negative space

Color

Contrast: the value, or degree of lightness and darkness, used within the picture.

Arrangement: for example, use of the golden mean or the rule of thirds

Rhythm

Illumination or lighting

Repetition (sometimes building into pattern; rhythm also comes into play, as does geometry)

Perspective

Breaking the rules can create tension or unease, yet it can add interest to the picture if used carefully

Viewpoint (leading with the eye)

The position of the viewer can strongly influence the aesthetics of an image, even if the subject is entirely imaginary and viewed "within the mind's eye". Not only does it influence the elements within the picture, but it also influences the viewer's interpretation of the subject.

For example, if a boy is photographed from above, perhaps from the eye level of an adult, he is diminished in stature. A photograph taken at the child's level would treat him as an equal, and one taken from below could result in an impression of dominance. Therefore, the photographer is choosing the viewer's positioning.

A subject can be rendered more dramatic when it fills the frame. There exists a tendency to perceive things as larger than they actually are, and filling the frame fulfills this psychological mechanism. This can be used to eliminate distractions from the background.

In photography, altering the position of the camera can change the image so that the subject has fewer or more distractions with which to compete. This may be achieved by getting closer, moving laterally, tilting, panning, or moving the camera vertically.

There are numerous approaches or "compositional techniques" to achieve a sense of unity within an artwork, depending on the goals of the artist. For example, a work of art is said to be aesthetically pleasing to the eye if the elements within the work are arranged in a balanced compositional way. However, there are artists such as Salvador Dalí who aim to disrupt traditional composition and challenge the viewer to rethink balance and design elements within art works.

Conventional composition can be achieved with a number of techniques:

The rule of thirds is a composition guide that states that arranging the important features of an image on or near the horizontal and vertical lines that would divide the image into thirds horizontally and vertically is visually pleasing. The objective is to stop the subjects and areas of interest (such as the horizon) from bisecting the image, by placing them near one of the lines that would divide the image into three equal columns and rows, ideally near the intersection of those lines.

The rule of thirds is thought to be a simplification of the golden ratio. The golden ratio is thought to have been used by artists throughout history as a composition guide, but there is little evidence to support this claim.

The "rule of odds" suggests that an odd number of subjects in an image is more interesting than an even number. Thus if you have more than one subject in your picture, the suggestion is to choose an arrangement with at least three subjects. An even number of subjects produces symmetries in the image, which can appear less natural for a naturalistic, informal composition.

An image of a person surrounded/framed by two other persons, for instance, where the person in the center is the object of interest in that image/artwork, is more likely to be perceived as friendly and comforting by the viewer, than an image of a single person with no significant surroundings.

The rule of space applies to artwork (photography, advertising, illustration) picturing objects to which the artist wants to apply the illusion of movement, or which is supposed to create a contextual bubble in the viewer's mind.

This can be achieved, for instance, by leaving white space in the direction the eyes of a portrayed person are looking, or, when picturing a runner, adding white space in front of him rather than behind him to indicate movement.

Images with clutter can distract from the main elements within the picture and make it difficult to identify the subject. By decreasing the extraneous content, the viewer is more likely to focus on the primary objects. Clutter can also be reduced through the use of lighting, as the brighter areas of the image tend to draw the eye, as do lines, squares and colour. In painting, the artist may use less detailed and defined brushwork towards the edges of the picture. Removing the elements to the focus of the object, taking only the needed components.

Shallow depth of field

In photography, and also (via software simulation of real lens limitations) in 3D graphics, one approach to achieving simplification is to use a wide aperture when shooting to limit the depth of field. When used properly in the right setting, this technique can place everything that is not the subject of the photograph out of focus.

A similar approach, given the right equipment, is to take advantage of the Scheimpflug principle to change the plane of focus.

Related to the rule of odds is the observation that triangles are an aesthetically pleasing implied shape within an image. In a canonically attractive face, the mouth and eyes fall within the corners of the area of an equilateral triangle.[citation needed ] Paul Cézanne successfully used triangles in his compositions of still lifes. A triangular format creates a sense of stability and strength.

It is generally thought to be more pleasing to the viewer if the image encourages the eye to move around the image, rather than immediately fixating on a single place or no place in particular. Artists will often strive to avoid creating compositions that feel "static" or "flat" by incorporating movement into the image. In image A the 2 mountains are equally sized and positioned beside each other creating a very static and uninteresting image. In image B the mountains are differently sized and one is placed closer to the horizon, guiding the eye to move from one mountain to the other creating a more interesting and pleasing image. This also feels more natural because in nature objects are rarely the same size and evenly spaced.

There should be a center of interest or focus in the work, to prevent it becoming a pattern in itself

The direction followed by the viewer's eye should lead the viewer's gaze around all elements in the work before leading out of the picture

The subject should not be facing out of the image

Exact bisections of the picture space should be avoided

Small, high contrast, elements have as much impact as larger, duller elements

The prominent subject should be off-centre, unless a symmetrical or formal composition is desired, and can be balanced by smaller satellite elements

The horizon line should not divide the art work in two equal parts but be positioned to emphasize either the sky or ground; showing more sky if painting is of clouds, sun rise/set, and more ground if a landscape

Use of detailed areas and 'rest' areas can help to aid the eye in where to look. Creating a contrast between detail and lack of detail is important

These principles can be means of a good composition yet they cannot be applied separately but should act together to form a good composition.

Also in an artwork, it is suggested that no spaces between the objects should be the same to create a more interesting image.

These paintings all show the same subject, the Raising of Lazarus, and essentially the same figures, but have very different compositions:

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The term composition means "putting together". It can be thought of as the organization of the elements of art according to the principles of art. Composition can apply to any work of art, from music through writing and into photography, that is arranged using conscious thought.

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Ce înseamnă pentru voi 'compoziția' și cum credeți că este utilizată în artă?

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Elevii vor analiza două lucrări diferite din punct de vedere compozițional folosind planșele didactice.

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Vom studia împreună definițiile pentru „compoziție”, „structură vizuală” și „echilibru”.

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Composition for Artists - A Beginners Guide

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Elevii vor lucra în perechi pentru a crea schițe simple care reflectă principiile compoziției.

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Now that you've explored and taken notes on the basics of composition, you will put this knowledge to work! The following exercises will help you practice and improve your understanding of...

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Elevii vor primi o fișă de lucru cu întrebări despre compoziție, structura vizuală și echilibrul vizual.

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Profesorul va observa modul în care elevii aplică noțiunile de compoziție în schițele lor.

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Se va iniția o discuție în clasă despre compoziția schițelor realizate de elevi.

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Elevii vor completa fișa introductivă care va fi evaluată pentru a observa nivelul de înțelegere.

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Elevii vor discuta ce au învățat despre compoziție în cadrul unei activități de grup.

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Group Drawing is my favorite reflective activity to close a group experience, lesson, or workshop. I made it up on the fly with an in-person group more than twenty years ago when I had just a few moments left in a session and wanted to end with something quick but positive, collaborative, and reflective. I had lots of flip chart and markers around, so divided the group into smaller teams of four to five people and asked them to collaboratively create some kind of symbolic or pictorial representation of our time together.

As someone who is not comfortable with my own drawing skills, I emphasized that because we only had five minutes and large markers, these weren't going to be detailed artistic masterpieces but rather a playful, lighthearted collaboration. I was thrilled with the engagement, compelling imagery, laughter, a sense of camaraderie, and celebration. Since that time, I've used it with hundreds of groups of all ages over the years with positive outcomes. I have a fun collection of these collaborative drawings in my office.

I believe what has made the activity so accessible in my in-person groups is the limited time, the large markers or crayons, and the reflective prompt's participant-centered openness. I am thrilled to find that online whiteboard tools such as Jamboard (an interactive whiteboard that is part of the Google workspace) are the perfect online medium to bring this activity to remote learning and team-building experiences.

Just like an in-person group would be spread out in smaller groups across a classroom space with their markers and flip chart paper, in Jamboard and other whiteboard apps smaller breakout groups can be assigned their own page within the whiteboard for their collaborative drawing. The Jamboard drawing tools are rough and playful, like markers and crayons, so participants don't get caught up in artistic perfection. They also can import images into Jamboard if they aren't feeling comfortable with drawing.

Group Drawing Reflection Activity for Online or In-Person Experiences
Materials: For in-person groups, large pieces of flip-chart or butcher paper, colorful, fat markers or crayons; for online learning, a Jamboard or other whiteboard app page for each breakout group.
Facilitation Suggestions
* Divide participants into small groups or breakout groups online. I like to use one of my favorite choice-centered breakout methods like "which one," "sole-mates," "playing cards," etc. (see August 2017 blog post). I regularly use these grouping techniques online, too, now that Zoom offers choice-centered breakout features.

* Give each group a piece of flipchart paper and a selection of colorful fat markers. For online learning, a Jamboard or other whiteboard app page for each breakout group

* Ask them to reflect upon their day, class lesson, experience, or work together and create a pictorial or symbolic representation of their experience. I emphasize that this can be any kind of symbol, picture, or group of pictures that represents their time together. It is not meant to be an artistic masterpiece- it just should involve each group member's creative input in some way.

* I usually only give them 5 to 10 minutes, so they work quickly and collaboratively and don't get too caught up in or intimidated by artistic detail.

* Invite each group to present their drawing to the larger group. *This is where the laughter, celebration, and compelling metaphoric reflection dialogue come in.

* Often, participants take away photos of their group drawings. I have found them hanging in offices months after an experience. I've kept a collection of my favorites over the years and am finding this is true in my online workshops. I've started a folder on my desktop of fun collaborative drawing images that are fun reminders of the fantastic groups I work with. For more on art and creative expression in reflection, see my 2018 Inspired Educator Blog post
References:
My original version of this activity is described in A Teachable Moment (Cain, Cummings, Stanchfield 2004) and other versions in Tips & Tools for the Art of Experiential Group Facilitation. A classroom-specific version, "Draw Your Ideal School," can be found in this blog post or in the Inspired Educator, Inspired Learner book. For more ideas on using Jamboard and other whiteboards in facilitation, stay-tuned for an upcoming collaborative "Inspiration Evening Session." Or join one of the upcoming Inspiration and Support Series.

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Group Drawing: A Favorite Collaborative Reflection Activity for Online or In-Person Experiences - Experiential Tools

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Group Drawing is my favorite reflective activity to close a group experience, lesson, or workshop. I made it up on the fly with an in person group more than twenty years ago when I had just a few moments left in a session and wanted to end with something quick but positive, collaborative, and reflective...

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Elevii vor răspunde la întrebarea: "Care este cel mai important lucru pe care l-ai învățat astăzi despre compoziție?"

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Elevii vor crea o schiță nouă care să respecte principiile compoziției învățate.

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Elevii vor studia un articol despre importanța compoziției în design și artă.

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Composition is the art of arranging elements within a work to create harmony, balance, and visual interest. It is the framework that underpins the viewer’s experience, guiding their eye and shaping their emotional response