Composition and the Art of Visual Communication
During the process of composing a storytelling image there are many decisions made by the artist. Anyone viewing a piece of art is biased subjectively as well as the artist themselves. But when one wishes to communicate clearly to an audience in image or film, clarity of expression is critical. It's up to the artist/designer to deliver imagery that communicates the specific message that communicates clearly and universally. Narrative painting, film or any visual medium who's purpose it is to communicate universally, requires clarity in execution and expression. Some claim art is subjective, but as visual storytellers we cannot afford to leave the interpretation of our work to the viewer’s judgment. We are artists, visual communicators, the directors, designers and solely responsible for the clarity our work, we are context creators, not rule followers.
Visual art possesses a complex system of communication, a visual language. Composition is the art of establishing the visual context, subject and statement. To do this we need to develop a deeper understanding to improve our visual literacy.
It is from this point of view that I suggest that expressing ourselves, moreover communicating our ideas, statements, or feelings depends firstly on establishing a visual context. Any bias of relationships that come to bare within our compositions should be inspired by our image message, and executed through the context you establish through visual relationships that make up your composition. The notion there are standardized rules required to achieve appeal or beauty is ridiculously wrong! Following visual rules limits the range of our visual expression.
1 Our visual language is comparative in nature
While designing our images our choices should be purposeful to make clear our image message. This is why it is important to develop many versions then compare and look for the set of relationships that communicate most directly.
If we are to learn to become more visually literate we must learn to assess the outcomes or consequences of simple to complex relationships through relative proportions and their range of contrast. The more specific we can be in identifying the visual elements that are playing active roles in our compositions the better.
Creating a composition is defining context
To visually communicate with clarity to the audience our images must frame the context of what we want to say, as well as contain the subject and subtext that allows the viewer to feel the full depth of our image message. We should strive to learn what the masters knew and develop the ability to critically assess our own work so that we may achieve the same level of clarity. This is done specifically through appraising their process and choices, not through merely copying their techniques.
In 1938 Dave Hand, one of the early Disney animators lectured on the importance of developing visual assessment skills. He cautioned that if we look at art and only ask if we like it or not then move on, we fail to assess the things within the image that are working or not working and fail to grow.
"Know what the old masters did. Know how they composed their pictures, but do not fall into the conventions they established. These conventions were right for them, and they are wonderful. They made their language. You make yours. All the past can help you." Robert Henri, The Art Spirit
Fundamental skills of seeing patterns, dominance and subordination
Before we learned to read or do math we learned to recognize pattern and value. These are extremely important to us as artists and our visual language. It is through this type of comparative recognition that we assess our visual components. We are always looking for patterns, what is similar and different, and prioritizing through dominance and subordination. It is important to note that our visual language has no grammar that would suggest that any shape, color, line, or space has a set inherent value. The value of presence of any element or relationship is up to the image creator.
Figure-Ground Relationship
Composition begins with the relationship between figure and ground.
In the diagram below our figure is a circle on a square ground. The circles scale and position within the frame (or ground) can offer a lot of graphic information. For instance in this case it appears static, imposing, immovable, because its scale and position being directly in the center.
By just the scale and position of the circle within a square we begin to tell a story.
There is a good chance that you arrived at the same or very similar answers to the visual conditions illustrated above. In this exercise (since the shape of the figure and format of the ground are the same) there are two relationships between figure and ground that are active, scale and proximity. Here is why these circles express what the do.
Moving: The closeness of the circle to the one side creates a visual tension. Our eyes move more slowly around the circle in the more open areas, but in the narrow space between the circle and side our eyes scan the image faster. This quickening creates a pulling sensation.
Close: Figures closer to the bottom of the frame appear to be closer than those higher in the frame.
This can go way back to possibly before ancient scrolls long before perspective, if we consider our cone of vision, as we perceive the world things at the bottom of our cone of vision are almost always closer than anything else.
This can go way back to possibly before ancient scrolls long before perspective, if we consider our cone of vision, as we perceive the world things at the bottom of our cone of vision are almost always closer than anything else.
Big: Large, filling the frame.
Far: Higher the frame and smaller make the circle appear much farther away than the next one.
Small: It's size is obvious but being close to the bottom of the frame says this circle is also close and that would reinforce the effect.
Raising: Partially cropped anywhere along the top of the frame would give this effect. having moderate scale allows it to have more volume and adds to the spatial closeness.
Falling: Cropped along the bottom somewhere will reinforce this feeling.
Heavy: Larger scale adds to the feeling of volume and resting on the bottom of the frame makes it feel like it is sitting literally on the ground.
Light: Positioning this moderate sized circle above center can add to the feeling of lightness. This can also have the feeling of farther away than its neighbor (heavy).
Dominant and Subordinate
In these limited exercises we explore ways to bring dominance to one circle among many. Though it is just a model, the fact that it is limited is key to our understanding.
There are a couple ways to direct the viewers eye using shapes, space, tone, color, and rhythm within the subtext of you images.
Similar exercises or models could be contrived to explore dominance to subordinate expressions using any of our visual elements discretely. It is important to note that creating dominance with one visual element is just a contributing factor to the total image. If color, or value is added to the circle and ground format you could either enhance the initial outcome or completely diffuse it. This means all of our visual elements work in contradistinction with one another and have influence on the others.
========================================================================
Visual Components
These are basic components that are discrete from one another and are the visual components of our visual language. These components in relative applications are present in our work. Our ability assess the consequence of their relationships and craft relationships that communicate clearly our image message is visual literacy and that is what we strive to develop.
1. Line: implied lines, closure, eye lines, tracking lines
2. Shape: emotional implications, directional forces
3. Space: flat, limited, deep, ambiguous, cubist
3. Tone: value, value grouping, counterchange-impact on space
5. Color: emotional, spatial, narrative applications, theory (7 contrasts)
6. Rhythm: contours, gradients, near alignments, closure, directional forces
7. Movement: (in film) Direction and Dot (for painting and film)
Primaries of Design
Line: texture, marks that define the surface, whose characteristics appear to express neither mass or form)
Notan: Mass - Light vs Dark
Chiaroscuro: Form – Light vs Shadow
Methods of Measure
Major Key (proportion)
Minor Key (range of contrast within the image or area of the image)
Dominant and Subordinate
The conditions created through the juxtaposition of the visual elements that help establish the level of hierarchy within our compositions.
=====================================================================
Dispelling the rule that says: don't put anything directly in the center of the frame. Rather than blindly following someones rule consider the consequences of the proximity and scale of both the circle in the square above and the painting of Henry the VIII by Hans Holbein. To sell the story of an immovable force Hans positioned the king directly in the center with an imposing frontal gaze, and broad balanced stance. To reduce the added tension of a straight pose directly in the center may imply, Holbein added some twist in his figure indicated with the red line in image 2. You see the blue axis line directly in the center but having some twist allows for the shapes of his figure and costume to favor one direction and not become too symmetrical. In image 3 I have outlined the asymmetry of the contour in pink and interior shapes in green.
Proximity, Scale and Space
The proximity, scale and impression of spatial depth can all be adjusted and modified to create a level of dominance of one shape over another, or build and relieve visual tension. Again, I am not saying visual tension is bad and these are not rules, rather conditions through which we can manipulate the perception of space and dominance. Where as Proximity, Scale and Space may add subtext to our visual story, making clear what is Dominant and Subordinate will add to the story. And your Matrix (which I will explain later) will add to setting the Context. So within Matrix where we set the Visual Context, we use Dominance and Subordinate and Spatial depth to help deliver Story, and Proximity, and Scale to deliver more Subtext.
Things that are closer have a tendency to group (A), or feel like they are more related than things that are farther apart (B). Near tangents (C) create visual tension, and tangents (D) flatten your image.
Relative position in frame can create an aspect of dominance. The circles are in front of the squares below, yet the circle in (H) appears to be a bit more dominant, than the circle in image (I) because it overlaps the square from a higher position. We can notice here the raising and falling effect of the circles and squares.
Compare these two images below. The rectangles are the same distance between so they feel like they relate to one another, and yet the smaller rectangle in the image to the right appears to be farther away from the larger rectangle in Z space or spatial depth. This is because the proximity between the two. In the image on the left, both rectangles appear to be sitting at the same depth to frame. In the second image the smaller rectangle is slightly higher in frame which gives the impression that it too is deeper in Z space or spatial depth.
Here is another example of pushing spatial depth through proximity. Both images have a large and small square. In the image on the left the smaller is over the larger. The overlap tells us the smaller is in front of the larger, but the space between seems shallow. It also appears to have more tension than the image on the right, partly because we are used perceiving larger object closer and smaller ones farther away. In the image on the right the spatial depth between the closer large square and the small square seems much deeper than the one on the left. The larger square in front of the smaller also relieves the visual tension.
Compare these images below. If we overlap two shapes to create a larger shape, that larger shape may feel more dominant because its size and complexity. In image (1) all the circles are similar in scale and the solitary circle is a bit higher in frame which challenges the overlapping circles for dominance because it is higher than the other two. In (2) the solitary circle is smaller which makes the two circles much more dominant because our perceptual sense says that things higher and smaller feel farther away. Now in version (3) the solitary circle is larger than the overlapping circles and higher in frame which overtakes the two in relative dominance. In version (4) I have repositioned the larger solitary circle near to the frame. The visual tension created here appears to pull the circles apart and we are more conscious of the pictorial space, or ground than in (3).
1 2 3 4
The effects of scale and proximity can vary based on many factors besides these controlled examples. In these images I am keeping the figures limited to two circles in a ground so we can see how subtle variants can change our perception of dominance, sub-ordinance and spatial depth. Some of the examples make a clear visual statement, while others more vague. When we want to communicate a visual statement clearly we want to reduce the ambiguity as much as possible.
Here are a few images that demonstrate the comparative aspect of Dominance and Subordination. In image A the large circle is clearly dominant over the smaller circle.
In B the larger circle is cropped, things that are cropped become less dominant. This leaves the smaller circle to have more dominance than in A. When shapes are cropped by the frame they become directly associated with the picture plane, and tend to lose their figure dominance or importance to the visual story. These cropped shapes hand over story value to become framing elements. The farther out they are cropped the less significance they have as story elements themselves, and in turn help frame or push the dominance to the other shapes within the frame.
In C, the larger circle is clearly the dominant circle, yet positioning the smaller circle so close to the frame it creates a near tangent which creates visual stress and robs some dominance from the larger circle. This would be a distraction from the dominance of the larger circle.
In D, the smaller circle is overlapping the larger circle which signals that it is in front of the larger circle and again makes us more aware of or gives more weight or importance to the smaller circle. In all these cases the proximity and scale are major factors in determining the degree of dominance one circle has over the other. So if we want to determine that one shape has clear dominance over another it is important to consider shapes influence on the dominant shape. Below in 5, 6, 7, and 8 I have pushed the scale and proximity to give more dominance to the smaller circles.
Within (J,K, and L) we can compare levels of visual tension. In (J) the square is parallel to the frame which flattens the image and in this case the tension resides in the area of near tangent. In (K) the tension is far more dynamic because the angle of the square. Now compare (K), and (L). The angle of the square is still dynamic but the near tangents with the frame have been reduced, so it does not appear as aggressive as (K).
In any composition you may want to avoid designing shapes or masses of equal size. Since our primary access into visual imagery is through comparing various shapes of equal or similar size have a tendency to flatten the scene, and create conflict in regards to determining which shape is dominant or the main subject of the scene. Equal shapes or dividing the frame into equal parts creates ambiguity of the image message, as they say 'if everything is equal, nothing is important. Compare the images below. In image A many parts are equal in scale, where as B offers more variety between the scale of shapes. Notice how the shapes, rhythm, and spatial depth has achieved a greater sense of unity. And the building appears to be more the subject of the shot.
Within the realm of figure ground relationships we can manage different levels of spatial depth and movement. In the images below the line in image (7) lays flat on the picture plane or surface. The overlapping of the shapes creating one larger shape in (5) we sense a stronger figure ground relationship because we have a shape rather than a line. And the shape has an implied axis line, which contributes to the movement across the surface. In (6) the organic shape in the center has a dominant axis line in one direction while the overlapping squares stack their axis lines in a counter direction creating the appearance of deeper and more dynamic space. While the volumes in (8) is a more cubist approach to creating a limited space illusion. Since no lines converge toward a horizon, the skewed planes or surfaces tend to deflect from surface to surface.
Cannons of Proportion
Rule of thirds
The rule of thirds is a concept that states an image should be imagined as divided into nine equal parts by two equally-spaced horizontal lines and two equally-spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections. Proponents of the technique claim that aligning a subject along these divisions creates more energy and interest which may balance, or harmonize the composition due to its self-similarity proportionate to those we perceive in nature.
This concept of thirds is often promoted by photographers that often compose within a 35 ml format. Probably because that proportion is closest to a golden mean and do carry a psychological effect on the viewer. Once the film frame is of a different proportion the same balance may not occur. Below is a golden section that is self divisible. The spiral here is based on the divisions of the golden section which only roughly resembles the nautilus spiral in nature, but not mathematically alike.
Leveling and Sharpening
As you can see and read below, when the dot or significant element or focal point is just off one of these thirds we sense a greater visual tension.
Over the years there have been many artist's attempts to bring order to our visual language with concepts relative to surface division or capturing the illusion of depth in search of defining what produces beauty, or harmony. And some are revered as timeless and held up as rules to guide our designs. If it is the artists' desire to attempt capturing beauty without narrative they may find they follow such rules. If the artist is attempting to tell a visual story and communicate a narrative it is more important to critically assess the consequence of such rules or concepts in order to determine if it suits the desired expression. Achieving harmony often means relieving visual tension. But maybe visual tension is desired around a particular character to express their inner feelings, or possibly the artist wants the viewer to feel tension. In this case, would it make sense to suppress visual tension?
Visual Tension
In contrast to the rule of thirds, look at the compositions below that are not subdivided by thirds, rather a more Gothic idea of stressing more extreme variations. If elements within the composition land along these divisions, one could also create a level of harmony within a greater state of visual tension.
Division of the surface and entering the frame
Often times we compose with the idea that we scan or read an image from lower left towards the upper right. And there are many speculations as to why this may occur but this is not a substantiated truth.
The way a surface is divided, the subject, scale, and proximity are some of the contributing factors, but let's compare the the three images below. Image 2 is divided on center both top to bottom and left to right. The result appears to be static, even and no stress.
Image 3 appears to exhibit a bit more stress, and an openness where as 4 appears to be more closed and more dynamic than 2, or 3.
Now compare these divisions of the surface to image 5.
The division of image 5 is not parallel to either top and bottom or either sides. When shapes or in this case the mere division of surface are parallel to the frame they have a tendency to be more static and become an extension of the frame with less of what I would consider pictorial value. See how the division in image 5 seems to appear more spatial, or represent more subject in contrast to the frame. This is what I will discuss more as narrative story or pictorial value.
Always Story first! Your value as a visual artist working on a film comes down to your ability to tell a visual story with clarity and meaning. Drawing and painting skills help, and todays tools make that easier than it has ever been, but that is no reason to slack off on developing those skills because there is a vast amount of talent and programs able to make highly skilled artwork, and that will become your competition. In Composition for Painting and Film we focus on visual story telling and building your ability to compose images that support the story throughout all the highs and lows the story may go through up to it's climax and resolution. This requires a range of visual expression that is always on point with the story moment, which is very different than just painting a stand alone piece of art. Even if you are not involved with film making or illustrating, expanding your ability to explore your methods of visual expression to deliver deeper context, subtext, and subject is useful regardless of medium. This range of expression through visual intensity can be charted out mirroring the story intensity of a film or book, but for the painter this can open up a world or opportunities to explore.
Design Matrix
The matrix is the underlying compositional design, literally the skeleton of your painting. It is the basic abstract light and dark pattern that divides your canvas and defines your composition. These dominant light and dark shapes can represent light vs shadow, or light vs dark of local values, or the shapes they create when they group by affinity. The resulting design is your Matrix. It not only defines your design through dominant light vs dark patterns, but to a large degree how they merge serves as the road map for how the viewer's eyes will move around our canvas. I can't stress this enough. Because the success of your painting depends on a decisive matrix isn't it worth working out before you start slapping paint down in a mad race to copy all the little bits that might explain a likeness?
A vague or indecisive matrix will result in a mushy and unclear composition. It doesn’t matter if your painting is high key, low key, realistic, or abstract, subtle or strong in contrast the clarity, therefore the accessibility for the viewer to enter your composition is based on a clear and readable matrix.
Whether your interest is rendering form, capturing the affect of light, or you have an affinity to working in a graphically flat manner it is important to design various and deliberately different compositions that express various emotions, spatial depths and subtexts. The reason for this is to help you to clearly see the effect and importance of the underlying design patterns through 2D shapes or different lighting conditions.
Here is the basic design concept of Notan and Chiaroscuro.
Everything we see is a a combination of the effect of light with the local values. The diagram below displays them separately and then together with different bias.
Below is a full value Notan dominant image
Below is a Chiaroscuro dominant painting. The greater contrast is between light and shadow. We still register a difference in value between the light and shadow shapes in her hair.
These two black and white images above are both Matrix paintings. Though they are of the same subject they look different. That is because the top image is based on greater contrast between light and dark or NOTAN and the bottom image is based on the greater contrast of light vs. shadow or Chiaroscuro. You can see the different patterns define different areas. These areas can be solid, or broken, grouped and clustered, or chaotic. Harmonizing your Matrix is a matter of creating relationships with variety, and similarity giving areas of interest verses areas of rest. Sometimes you could create areas of tension and relief. Balance here is the key. Not meaning 50% by 50% black to white but enough relief to balance the tension created, if that is what you need for your image. So Harmony resides between Monotony and Chaos.
The images below illustrate the range from Chiaroscuro (or stronger contrast between the light vs shadow design pattern or design bias), to Notan (or stronger contrast between local values or light vs dark contrast design pattern or design bias).
Artists of all different ages and styles have designed their matrix by combining and interlocking the light/dark, and light/shadow patterns in order to design more expressive images. Again clarity is key when designing and combining these modes.
These two paintings, below are another example of the difference between an Notan dominant design verses a Chiaroscuro dominant design. Though they are of the same subject they look different. That's because the right image is based on greater contrast between light and shadow or Chiaroscuro and the right image is based on Notan, or the greater contrast of light vs. dark. You can see the different patterns define different areas. These areas can be solid, or broken, grouped and clustered, or chaotic. Whether you're interested in rendering form, capturing the affect of light, or you have an affinity to working in a more graphic, local value dominant manner, clarity in design is vital. It's important to understand various and deliberately different compositions that express various emotions, spatial depths and subtexts rely on clear distinction. The reason for this is to help you to clearly see the effect and importance of the underlying 2D design patterns for both Notan or Chiaroscuro based conditions.
Here are some student design Matrix in black and white only from illustrations and film frames with very clear design patterns. As you can see their bias changes from Chiaroscuro to Notan fluidly and maintain clarity in design.
Sometimes the design requires a third value to bring clarity to the design. Appealing, or aggressive, calming or chaotic this black and white underlying design is your Matrix, where your composition begins. If your design is not clear at this stage don’t bother going any farther. This design will inform the viewer in many ways at once. It is at this initial Matrix where the design is set. Shape, and rhythm create the interlocking pattern, and this pattern becomes the artist’s road map for directing the viewer throughout his canvas. Regardless of the final balance of tonal contrast the shapes, proportions, and interlocking or chaotic nature of the designed zones communicate your idea to the viewer. Image clarity begins with a decisive Matrix.
Both
Chiaroscuro
Both
Both
both
Notan
Notan
Chiaroscuro
Chiaroscuro
Notan
Notan
Both
Chiaroscuro
Chiaroscuro
Chiaroscuro
Notan
Chiaroscuro
Chiaroscuro
Both
Chiaroscuro
Chiaroscuro
Chiaroscuro
Notan
Homework
Using only black, white, and Gray, copy the design matrix of 10 film frames or images that are Notan dominant, 10 images that are Chiaroscuro dominant, and 10 images that are a combination of both. Make sure you upload the images you worked from, and label each image whether it is Notan, Chiaroscuro or both. A good reference to film imagery is evanerichards.com Go into the movie reference archives tab and see a large selection of films. What I will be looking for is if you are recognizing and understanding the compositional make-up of the images, not over rendering, and not stylized simplification.
25 Matrix images of black white and gray. 10 images Notan dominant, 10 images Chiaroscuro dominant and 5 combination images where I would like you to select and draw image with clear distinction where notan or chiaroscuro sits within the total design. Here are a few reference images.
Notan Dominant
No comments:
Post a Comment
Note: Only a member of this blog may post a comment.