DESIGN AND COMPOSITION

Still Life, Composition in Oil.                      © By Ruth (Wagy) Zachary

Different approaches to learning composition are taught by different teachers. Eventually

I will list the Principles and Elements of Composition and Design, but because the subject is

complex, I believe artists will integrate the concepts by experiencing the process of creating

compositions, and that being able to articulate them will come intuitively in time. 

COMPOSITION WITH ABSTRACTION OR WITH REALISM:

The success of abstract art depends directly upon the execution of good aesthetic characteristics, and the study of composition at an early stage of abstract work is more neccesary, than when the artist is using recognizable imagery in creating a piece of art. With realism, familiarity with a subject often includes experience with, and an intuitive sense about compositional principles. The study of composition while dealing with realistic subjects can be delayed, or absorbed intuitively by certain approaches..

 In my own experience, because non-objective abstract work requires an immediate understanding of design elements and compositional principles for the process to work well, it is more logical to learn about composition earlier in the abstract creative process, than if honing one’s representational skills.

Working alternately with realistic subjects with abstract imagery may build upon the artist’s accumulating experience and awareness, even more rapidly than working exclusively with realism or with abstraction.

I will try to use realistic examples of compositional approaches on this blog (Montage) and abstract examples of composition on my other blog, Mixed Media Abstract Art.

WAYS OF MAKING A COMPOSITION:

Whether sketching thumbnails of realistic subjects, arranging shapes within the picture plane while making a collage,  focusing on a picture with your camera,  or doodling a pen and ink design, you may create arrangements to learn about the compositional relationships and the interactions between various elements, both realistic or abstract.

Exercises to build compositional skills:

Note: If you are working with Collage, by doing these exercises using cut out shapes, you will also be learning about composition, even if you feel you cannot draw.

Arranging cut out objects in different layouts is a good way to create a still life composition.  The artist makes the choice.

Exercise- Arranging and Rearranging:

Arrange several shapes of different sizes into groups of overlapping shapes. When you

overlap objects, often they are seen by the eye as a sub grouping making one shape, which simplifies the layout more than if the objects were separated. Ultimately strive to create uneven numbers of shapes or groupings, as they are more interesting. Try to avoid placing one dominant shape in the center.

Since the above images were cut from magazines and arranged so that the perspective in the pieces remained relatively accurate, in terms of the viewer's point of view, consider this when you experiment with various layouts. Photographing these cut outs was not easy with my poor lighting, but you can see how this method could work as a way to plan a painting or composition. The cut outs could even be made into a collage if one chose.  

You might prefer to work with photographs of objects, arranging them in various groupings before deciding on your favorite layout to work out as collage, painting, pencil drawing, etc. Do not feel obligated to paint or draw the objects as completely realistic renditions. Be creative, as with the still life above, with some objects having more depth and some as flat silhouettes. If the pictures of multiple objects are taken from one viewpoint the illusion of perspective will be more accurate, if you want to convey that. You might choose one or more of your photo arrangements to develop into a finished composition.

If you work with cut out shapes, the same image may appear larger in some arrangements than in others, as they relate to other objects nearby. This is caused by the illusion of depth or perspective within the picture plane, even though on a flat surface, there is no actual depth.

Writing and Images are the © Copyright of Ruth Zachary.

WHAT IS YOUR PREFERRED GENRE?

In Dreams Gone By, Mixed Media Collage Using Spray Paint, Color Copy Transfer, Colored Pencils. © Ruth Zachary.

If you started collecting images and textures and other subjects for collage, you may have noticed many of your choices are similar. (covered in the post of May 30, 2014) You may have been attracted to still life, or the opposite, choosing to collect textures showing up in beverage advertisements, which you arranged into abstractions in collage. If you did this you should have noticed you have a preference for certain subjects, or approaches. These subjects probably point to the genre you would like to interpret as an artist. Sometimes it takes years to decide upon one or two favorite subjects or ways of working.

Personally, I am an artist who never figured out what she wanted to be when she grew up. I was a printmaker for many years, but that was a medium, not a subject. Even then I moved between etching and collagraphs and various subjects, led by excitement for my experimentation and  process.

GENRE TYPES- To develop this idea about preference, I have included an

incomplete list of Subject Matter( Not defined by Media) Maybe one or two will

spark a flash of recognition for you… that a particular genre or subject matter is satisfying for you. If there is a concept or manner of expression associated with the subject, that may also be a quality you are attracted to, and wish to express in your art.

Realistic or Objective Art

         Ethnic or Cultural Context- might include Regionalism

         Figurative work- (human subjects)

         Historic Period with associated Characteristic traits

         Landscape

         City Scape

         Pop Art

         Portraiture

         Primitivism

         Romanticism

         Still Life

         Surrealism

         Symbolism

         Wildlife

Abstraction Applied to Recognizable Subject Matter: Includes some of the various kinds of abstraction of a realistic or objective subject. (to differentiate from totally non-objective art)

        

         Cubism

         Dadaism

         Distortion and Exaggeration

         Expressionism ( generally not related to a subject)

         Impressionism.


Images and writing on this post are the Copyright © of Ruth Zachary.

SCALE OF THE OUTER DIMENSION

SCALE:
Scale refers to various aspects of size. In this case, Scale has to do with the relationship of the size of the art work in the space where it is shown. The painting is of a relatively large size and the red colors are dominant in the space as well.

Many abstractions are more dramatic if the piece is large enough to command attention at a distance away. This also is true of some Realistic Paintings. Scale has to do with size, and affects how a composition is to be seen in a room. Above, the large painting dominates the color impact for the entire space. Large is not always better, but here it is warm and dramatic in an otherwise neutral room.

Scale affects how details are conveyed to a viewer.  If the subject is  rather intimate, or is appropriately examined up close, a smaller size format  may be more effective. 

Is your vehicle large enough to transport the art work? Is it too big to put glass over it without it being dangerously heavy? Consider the practical implications as well as whether size will create an important statement. 

Proportions within the format will affect the impression created. Scale is sometimes a term used to describe the shapes within the picture plane, rather than actual size. Georgia O’Keefe  painted flowers in a larger than life size, but in a picture plane that was not extremely large compared to sizes used by other artists. Consider the implications of  Neutral vs Intense color, or Light to dark, Busy vs Quiet and Restful, as well as what you want to say by the size you choose..

With a realistic subject, the Perspective, or point of view of the viewer and of the artist will accurately communicate the eye level from which the image was or is being observed when created. This may help determine the level at which an art work is most effectively hung.

Writing only, © by Ruth Zachary.