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.