2. The composition

3. The task of analyzing the composition of artwork must begin with the question: «What makes this painting singular and recognizable? »

4. It is a organizational process in which the visual elements are placed on a surface or a space with a specific purpose or aim.

5. In this image you can see the elements are a complete mess. On the other hand, the same elements have been grouped by setting up horizontal and vertical lines.

6. Observe how in this painting, by Emilio Pettoruti, the elements of the composition are organized. The order is set up by lines of strength, that articulate the forms of the image. The balance of the image depends on these lines.

7. Axes or schemes of composition Format Figure and background Weight and balance Symmetry Rhythm and movement Proportion

9. Consists of:  Geometrical figures  Straight lines and curves  Simple or complex modular networks

13. Esquema en aspa

14. X scheme

15. Is the combination of two or more simple compositional schemes Gives the composition a greater sense of complexity

18. One point perspective composition that gives us the sensation of tranquility and calmness.

19. Spiral composition that produces the effects of movement and speed.

20. Composition with curved and oblique lines that produces the sensation of dynamism.

31. El triunfo de Baco, Diego de Velázquez

32. 1. There is a virtual diagonal line that runs from the top left corner to the bottom right corner. This breaks up the monotony of the horizontal and vertical lines.

33. 2. The figure of Baco is not found situated in the center of the painting but on the left. The brightness of Baco’s skin contrasts with the color of the figures on the right

34. 3. The eyes of Baco and of the men looking at the viewer are in the upper part of the painting. This draws our attention upwards and creates a sensation of elevation

35. 4. The figure under the diagonal line is reinforced in the foreground and is not clear because it is in the shade. Because of this, your attention does not focus on this figure but on Baco and the others.

36. 5. The painter has purposely included images that are not realistic, such as the shadow of the jar in the sky. These images remind us that we are looking at a painting.

37. Format is the shape, size and spatial orientation of the surface in artwork The correct choice of format is one of the basic rules when developing composition

38. Types of format: Flat Format Three dimensional Format Irregular Format The Golden Number

39.  Vertical format: Visual sensation of equilibrium and elevation. It has been used a lot in religious themes because it improves the sense of elevation and spirituality.

40. Vertical format

41. Monet: Madam We can easily observe a vertical axis in a composition, which gives the painting a sensation of equilibrium or balance. Vertical format

42. Horizontal format: Widely used in landscape themes and still life paintings. It helps to create the effect of order in its elements. FLAT FORMATS

43. Still life, Zurbarán FLAT FORMATS

44. Triangular format: Produces the sensation of a great stability in its base and limits the expansion of the forms in the upper part. FLAT FORMATS

46. Circular format: Encircling movement FLAT FORMATS

47. Focuses our sight in the center and produces a visual effect of stable equilibrium.

48. GOYA: MIRACLE OF SAINT ANTHONY OF PADUA Goya chose a spherical shape for his painting. The people leaning on the railing around the circle create a three dimensional effect.

50. Tends to group the forms inside, creating a feeling of calmness.

51. Produces a visual effect of movement, energy and freedom Mostly used in advertising for children and in comic strips

52. == The Golden Number Making a rectangle in golden proportion Firstly, we draw a square We make the layout of the perpen- dicular bisector A B We extend the line of the base of The square Stick the tip of the compass on point A, open the compass up to Point B and draw an arc up to the line Complete the rectangle

53. DRAWING A RECTANGLE IN GOLDEN PROPORTION THE GOLDEN NUMBER IN A FACE

54. DIVIDING A PAPER USING THE GOLDEN NUMBER A B C D E A B C D E

55. A common technique in graphic design and advertising is using The Law of Thirds – which divides the composition into three equal parts, horizontally and vertically. The areas with the greatest visual weight are located on or near each dividing axis. These areas are called the power points or the centers of interest.

59. The field of vision is the space occupied by forms and colours. The figure and the background can be distinguished in the field of vision.

60. The visual weight or centre of attention is the main area of the composition, where forms and colours draw our sight.

61. The following factors influence the visual weight Size: The bigger the size, the bigger the weight.

62. Colour: Warm colors, such as red, weigh more than cool colours, such as blue

63. Lighter values on a dark background weigh more than darker values due to contrast.

64. Position: a strong position on the structure (Axis, diagonals, main points) weighs more than another off- center or remote position

65. We can get visual balance by distributing and compensating the visual weight and the direction of the forms Wassily Kandinsky

66. It is a basic system for the arrangement of the forms The forms are organized with respect to an axis

67. There is axial symmetry if the whole figure can be generated by repetition of one of its halves, as if reflected in an imaginary mirror that is placed in the middle.

73. El Nacimiento de venus, 1485, Boticelli

74. In radial symmetry, all the elements of the figure take up the same position with regard to a common point. All axes of symmetry pass through this point.

76. Rhythm is an art principle that shows the movement with the repetition of the elements and objects. Rhythm and movement

78. Where there is similarity there is repetition, therefore rhythm and frequency.

80. Visual movement is the art principle used for creating the sensation of motion and guiding the sight of the observer in the artwork.

81. In relation to the idea of rhythm and similarity, we have the idea of proportion, which refers to the relationship between elements of similar configurations but different sizes.