Composition

In the visual arts — in particular painting, graphic

design, photography and sculpture — composition is the placement or arrangement of

visual elements or ingredients in a work of art, as distinct from the subject of a work. It can

also be thought of as the organization of the elements of art according to the principles of

art.

The term composition means 'putting together,' and can apply to any work of art, from

music to writing, that is arranged or put together using conscious thought. In the visual arts,

composition is often used interchangeably with various terms such as design, form, visual

ordering, orformal structure, depending on the context. In graphic design and desktop

publishing, composition is commonly referred to as page layout.

Movement

Movement shows actions, or alternatively, the path the viewer's eye follows throughout an

artwork. Movement is caused by using elements under the rules of the principles in picture

to give the feeling of action and to guide the viewer's eyes throughout the artwork.

Unity

Unity is the quality of wholeness that is achieved through the effective use of the elements

and principles of art. The arrangement of elements and principles to create a feeling of

completeness.

Harmony

Harmony is achieved in a body of work by using similar elements throughout the work,

harmony gives an uncomplicated look to a piece of artwork.

Color Harmony or Color Theory is also considered a principle through the application of the

design element of color.

Variety

Variety (also known as alternation) is the quality or state of having different forms or types.

The differences which give a design visual and conceptual interest: notably use of contrast,

emphasis, difference in size and color.

Balance

Balance is arranging elements so that no one part of a work overpowers, or seems heavier

than any other part. The three different kinds of balance are symmetrical, asymmetrical, and

radial. Symmetrical (or formal) balance is when both sides of an artwork, if split down the

middle, appear to be the same. The human body is an example of symmetrical balance. The

asymmetrical balance is the balance that does not weigh equally on both sides. Radial

balance is equal in length from the middle. An example is the sun

Contrast

Contrast is created by using elements that conflict with one another. Often, contrast is

created using complementary colors or extremely light and dark values. Contrast creates

interest in a piece and often draws the eye to certain areas.

Proportion

Proportion is a measurement of the size and quantity of elements within a composition. In

ancient arts, proportions of forms were enlarged to show importance. This is why Egyptian

gods and political figures appear so much larger than common people. The ancient Greeks

found fame with their accurately-proportioned sculptures of the human form. Beginning with

the Renaissance, artists recognized the connection between proportion and the illusion of 3-

dimensional space.

Pattern/Rhythm

Pattern and rhythm (also known as repetition) is showing consistency with colors or lines.

Putting a red spiral at the bottom left and top right, for example, will cause the eye to move

from one spiral, to the other, and everything in between. It is indicating movement by the

repetition of elements. Rhythm can make an artwork seem active.

Percy Principles of Art and Composition Percy Principle #1 -  Avoid a sore thumb.  Nothing in the composition

should be so strong that the rest of the composition looks neglected.  When you have a sore thumb, you do not notice the rest of your hand.  Avoid the SORE THUMB.  I study my composition to see if anything looks too important, I change that part to make it less important, OR I find something else in the composition and make it more important. However, even scars add interest, emphasis, and expression if they are integrated into the whole..

Percy Principle #2 - Keep everything connected.  Connect each part of the composition to something else in the composition.  I think of this

as Theme with Variation.  If I use a big red circle, perhaps I need another circle or another red or another big thing.  I probably should not have another big red circle.  If I use a black and white cow, I may need another animal or organic shape, or I may need another instance of black and white spots, etc., and so on.

Percy Principle #3 - Include Secrets.  Artwork is more interesting and expressive if it has hidden features and ideas that it only reveals to diligent observers.  The popular arts, by contrast with fine art, make everything obvious at first glance. 

Percy Principle #4 - Challenge common assumptions.  Strong artwork often makes the viewer question prior assumptions about the world.  Is my artwork making an ARGUMENT?  What does my artwork have to offer that the viewer may find incomprehensible, disagreeable, or contentious?  By contrast, popular arts tend to support all popular ideas and assumptions in simple straightforward ways.

Percy Principle #5 - Cherish Mistakes.  Mistakes are fascinating gifts, and what we do with them makes all the difference.   It is hard to plan creative work, but when a mistake happens, I am given a gift.  When I respond to the mistake and make a new thing from it, I do not have to borrow other artist's ideas to be creative.  It has emerged as my solution.  On the other hand, when the mistake is an obvious failure, it means that I have to get to work, do research, experiment, or simply PRACTICE MORE.  These are all positive outcomes.  Percy Principle #1 was about sore thumbs. Mistakes are sometimes like sores that make something less boring and more fun to see. I leave enough scars to keep the story interesting and expressive.Also see - Dennett, Daniel C. (1995) "How to Make Mistakes." In: J. Brockman, K. Matson (eds.) How Things Are. New York: William Morrow and Company: 137-144.

Percy Principle #6 - Be Accident Prone.  Accidents in art are tragic or happy - depending on the artist's disposition to respond.  The benefits of accidents and mistakes are very similar.  They both present unexpected problems or opportunities.  If one of my soft clay pieces accidentally falls off a ware board, it presents itself to me as an idea for a wall plaque, wall vase, mirror frame, or something else not yet imagined.  If a large bowl form falls

flat and becomes a platter, it may not be functional, but it can be transformed into relief sculpture.  This particular piece of clay can be thrown in the rework, but the images presented to me are filed in my mental hard drive.  A series of wall pieces or platters may emerge from the ideas presented by the accident. Creative people prize accidents and mistakes precisely because accidents move the mind to places it does not voluntarily go.  Creativity is not simply problem solving.  Experts may be good at problem solving, but the highly creative also love the art of "problem finding".  Accidents and mistakes are such useful problem finding techniques that we need to practice them.  Some lessons can have "intentional accidents" as part of the lesson.  It is a way to learn how to generate problems and ideas.  

  Percy Principle #7 - Never borrow other artist's ideas.  Steal

'em!   Ideas are free for the taking. Ideas are all around us in the vapor of existence. Images and particular arrangements of words, on the other hand, are copyrighted. Inventions are patented. Copyrights and patents are "intellectual property", but ideas and concepts belong to everybody. They are in the public domain - always have been. If I find a good idea, a truth, I do not want to borrow it. I do not want to return it. I want to appropriate it, test it, and make it my own. I own it. Like the thief, I want to steal it so I can tell it, paint it, and fling it with clay and glaze.  Ideas are free.  The ability to express a good idea is a valuable artisitic ability.Source: I was introduced to this Principle by Nick Lindsay, poet and son of Vachel Lindsay, poet.  In 1972, as he was helping me build our house, I asked Nick if he felt like borrowing another poet's ideas.  He said, "Never borrow 'em.  STEAL 'EM.  Make 'em your own.  Don't plan to give 'em back."