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Fundamentals of visual literacy: statics and dynamics in composition. Master class for children

The following compositional rules can be distinguished: 1. Transfer of motion (dynamics) 2. Rest (statics) 3. Golden section (one third).

We will consider only two types of composition - dynamic and static. 1. Static compositions are mainly used to convey peace, harmony. To emphasize the beauty of objects. Maybe to convey solemnity. Calm home environment. Items for a static composition are selected similar in shape, weight, texture. Characterized by softness in the tonal solution. The color scheme is based on nuances - close colors: complex, earthy, brown. The center is mainly involved, symmetrical compositions.

Consider an example: Stable, motionless, often symmetrically balanced, compositions of this type are calm, silent, evoke the impression of self-affirmation.

Now let's move on to dynamic composition. 2. Dynamics, this is the complete opposite of statics in everything! Using dynamic construction in your works, you can more vividly convey the mood, an explosion of emotions, joy, emphasize the shape and color of objects! Objects in dynamics are mostly lined up diagonally, an asymmetric arrangement is welcome. Everything is built on contrasts - the contrast of shapes and sizes, the contrast of color and silhouettes, the contrast of tone and texture. The colors are open, spectral.

reticulate.

Glancing Reflection Plane is a set of planes of symmetry and parallel translation.

Examples of opposite symmetry are also: a positive relief form (bulge) and a negative one equal to it (deepening); a figure of one color and an equal figure of another color (tone); black and white ornament on the principle of "positive - negative".

Similarity symmetry will be observed if, simultaneously with the transfer, the size of the figure, the gaps between the figures will decrease or increase.

An ornamental motif can be made using similarity symmetry.

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2.5. STATIC AND DYNAMIC COMPOSITIONS

All ornamental compositions are divided into two types

- static and dynamic(by analogy with objects of nature - motionless and moving). The figurative meaning of a dynamic composition is movement, development, tension; static - peace, immobility, closed form. Combining elements of a dynamic and static nature, you can create many ornaments that are diverse in composition.

Typical properties of static and dynamic composition

A motif will be static if it can be divided by a plane of symmetry into equal parts so that one half of it is

mirror image of the other. Similarly - with two planes of symmetry (vertical and horizontal). The static nature of the motif is determined not only by its symmetry, but also by its inclination. Verticals and horizontals cause a feeling of stability, peace (statics). Slanted lines are dynamic. All asymmetrical motifs are dynamic, they are divided into unequal parts. The dynamism of these motifs in the compositions is emphasized by the slope.

Ornamental compositions often use a combination of static and dynamic elements. Circular arcs in vertical and horizontal arrangement are static. Circles are always static. Spirals, parabolas, etc. are dynamic.

Static rapport compositions

The main task in creating static compositions is to organize an integral ornamental structure that expresses the idea of statics. The greatest visual stability (static) of the ornamental composition is achieved with a square shape

When creating a static composition, first of all, you need to build a rapport grid. Then arrange in it the given motives in horizontal rows. Location of motifs

in the grid has three options depending on the ratio of the background and the pattern:

1. The distance between the motifs is less than the motif (the most compact arrangement of the pattern).

2. The distance between motifs is commensurate with the motif itself (the principle of sameness -

V checkerboard).

3. The distance between motifs is much greater than the motif (sparse arrangement).

The more the elements of the pattern are consistent according to the principles of symmetry and uniformity, the more they express the idea of the statics of the entire ornamental composition.

For example: in a patchwork composition, the same square rapports - blocks and the same intervals between them horizontally and vertically - a lattice.

However, the desire to create an absolutely balanced

in all respects, the composition can lead to dryness and schematism of the composition, deprive it of the necessary diversity and expressiveness. To prevent this from happening, an element of dynamism should be introduced: the rectangular shape of the rapport, the opposition in one rapport of large and small motifs, the tonal emphasis on one of the motifs or a different color tone, etc. The introduction of dynamic elements into a static composition only increases the static character of the picture. It is only important that precisely those expressive means of the composition that give it static character dominate.

Graphic interpretation of the motif

1. Linear solution of motives (use of a line). In patchwork, these can be stitch lines.

or patchwork lines.

2. Spot solution of motives (use of spot). Compared to linear, it is more active and ponderous, it focuses attention on rhythmic alternation.

3. Linear spot solution of motives (use of lines and spots).

In patchwork, this can be a combination of stitches and patterns.

Dynamic rapport compositions

Dynamic ornamental compositions are built according to principle of diversity. The most important thing in a dynamic composition is the coordination of the various movements of the elements, the search for the main ones and the subordination of the secondary ones to them.

The sensation of movement (dynamics) is achieved:

in the absence of an axis of symmetry at the motif itself;

if the motive has at least one axis of symmetry - due to the rotation of the motive;

with absolute symmetry of the motif - by changing its size.

Lesson 1. Any picture begins with the construction of the composition.
And in order for your photos to look harmonious and competent, you need to study its basics.

Fundamentals of composition.

Statics and dynamics in composition.

First a little introduction

What is composition?
Composition (from Latin compositio) means composition, combination of various parts into a single whole in accordance with an idea.
This refers to the thoughtful construction of the image, finding the ratio of its individual parts (components), which ultimately form a single whole - a complete and complete photographic image in terms of linear, light and tonal structure.

In order to better convey the idea in photography, special expressive means are used: lighting, tonality, color, point and moment of shooting, plan, angle, as well as pictorial and various contrasts.

Knowing the laws of composition will help you make your photographs more expressive, but this knowledge is not an end in itself, but only a means to help you achieve success.

The following compositional rules can be distinguished:
transmission of movement (dynamics), rest (statics), the golden section (one third).

The methods of composition include: the transfer of rhythm, symmetry and asymmetry, the balance of parts of the composition and the allocation of the plot-compositional center.

The means of composition include: format, space, compositional center, balance, rhythm, contrast, chiaroscuro, color, decorativeness, dynamics and statics, symmetry and asymmetry, openness and isolation, integrity. Thus, the means of composition are all that is necessary to create it, including its techniques and rules. They are diverse, otherwise they can be called means of artistic expression of the composition.

We will return to these and other questions, but
today we will take a closer look at the transmission of movement (dynamics) and rest (statics).

STATICS

First, I will tell you what is typical for static composition, and show how to achieve this in your work with an example.

Static compositions are mainly used to convey peace and harmony.
To emphasize the beauty of objects. Maybe to convey solemnity. Calm home environment.
Items for a static composition are selected similar in shape, weight, texture. Characterized by softness in the tonal solution. The color scheme is based on nuances - close colors: complex, earthy, brown.
The center is mainly involved, symmetrical compositions.
For example, I will make a small still life. Its artistic value is not great, and all the techniques and means of composition in it are slightly exaggerated for clarity))
So, for starters, I select the items that I will use and draw a diagram of my future still life.
In principle, any object can be inscribed in one of these figures:

Therefore, we will take them as a basis.
For my still life, I chose three objects - a cup, a saucer and, as an auxiliary object, a candy. For a more interesting composition, let's take objects that are different in size, but very similar in color and texture (as the properties of statics oblige).
After moving the figure a little, I settled on this diagram:

The center is just involved here, the figures are located frontally, and are at rest.

Now we need to decide on the tonality of objects, that is, divide into the lightest object, the darkest, and a semitone. And at the same time with color saturation.
Having painted over the figures, and having played a little with colors, I stop at this option:

Now, based on this scheme, I build my still life. I take pictures and this is what I get:

But as we can see, this does not quite fit the properties we need.
It is necessary to achieve greater generalization of objects, so that they practically look like a single whole, and also the colors are closer. I am going to solve these problems with the help of light.
I use combined lighting - a combination of directional and diffused light:
a dim fill light, and a directional flashlight beam.
After a couple of frames and experiments with light, I manage to achieve the desired result.
I process it a bit in FS and here is the result:

As you can see, we managed to create a static still life, according to all the rules:
Objects are at rest, in the center of the composition, overlapping each other.
The colors are soft and complex. Everything is built on nuance. Items are the same in texture, almost the same in color. The common lighting solution unites them and creates an atmosphere of calm and harmony.

DYNAMICS

Now let's move on to dynamic composition.
Dynamics is the complete opposite of statics in everything!
Using dynamic construction in your works, you can more vividly convey the mood, an explosion of emotions, joy, emphasize the shape and color of objects!
Objects in dynamics are mostly lined up diagonally, an asymmetric arrangement is welcome.
Everything is built on contrasts - the contrast of shapes and sizes, the contrast of color and silhouettes, the contrast of tone and texture.
The colors are open, spectral.

For clarity, I will take the same objects, only I will replace the cup with a more contrasting color.
Again using our three figures, I build the composition, but based on the properties of the dynamics. Here's the diagram I came up with:

Now I am working on tone and color, not forgetting that everything should be as contrasting as possible in order to convey movement in a still life.
Here is the finished sketch:

Now we turn all this into reality, arrange objects, take shots.
Let's see what we have done and what needs to be changed

So, the location seems to be good, but because of the general light, it was not very possible to create contrast, especially in colors. The items look too much the same.
I decide to use a colored flashlight to emphasize the shape and make objects contrast in color.
I experiment with blue light, choose the most successful frame in my opinion, refine it a little in FS and here is the result:

Now everything seems to be in place. The composition is built diagonally, the objects and their arrangement relative to each other are dynamic, one might say contrasting: the saucer is standing, and the cup is lying.
The colors are more than contrasting.)) The same applies to tone.

That's like all. I specifically tried to keep all the tricks and rules to a minimum so as not to rewrite the numerous pages of the abstract here.))
If you have any questions that I have not considered here or missed, be sure to ask!

HOMEWORK

Now let's move on to the final part of our lesson - to the homework.
It will be extremely simple.
You will need to independently compose two compositions for statics and dynamics, guided by the rules described in this lesson.
To get started, select the items that are most suitable in your opinion for the intended composition, then be sure to draw up a diagram! (regular and tone-color) And then proceed to the setting of objects according to the scheme and directly to the shooting itself.
We need to take our three figures as a basis:

If you want to complicate your task, try to use the same items both statically and dynamically.

ADVICE!
For more expressiveness
all three items are taken in different sizes - large, medium and small, auxiliary.
And also different in tone - the lightest, medium and dark.

So, as homework, you need to provide
two works: on statics and dynamics, as well as two schemes for them!

So using the knowledge gained and your imagination, create new masterpieces!
Creative success to you!

With this topic, I want to open a series of lessons dedicated to the basics of composition.
After all, it is with the construction of the composition that any picture begins.
And in order for your photos to look harmonious and competent, you need to study its basics.

Fundamentals of composition.
Statics and dynamics in composition.
First a little introduction
What is composition? Composition (from Latin compositio) means composition, combination of various parts into a single whole in accordance with an idea. This refers to the thoughtful construction of the image, finding the ratio of its individual parts (components), which ultimately form a single whole - a complete and complete photographic image in terms of linear, light and tonal structure. In order to better convey the idea in photography, special expressive means are used: lighting, tonality, color, point and moment of shooting, plan, angle, as well as pictorial and various contrasts. Knowing the laws of composition will help you make your photographs more expressive, but this knowledge is not an end in itself, but only a means to help you achieve success.
The following compositional rules can be distinguished: transmission of movement (dynamics), rest (statics), golden section (one third).
The methods of composition include: the transfer of rhythm, symmetry and asymmetry, the balance of parts of the composition and the allocation of the plot-compositional center.
The means of composition include: format, space, compositional center, balance, rhythm, contrast, chiaroscuro, color, decorativeness, dynamics and statics, symmetry and asymmetry, openness and isolation, integrity. Thus, the means of composition are all that is necessary to create it, including its techniques and rules. They are diverse, otherwise they can be called means of artistic expression of the composition.

We will definitely return to the consideration of these and other issues, but today we will consider in more detail the transmission of motion (dynamics) and rest (statics).

First, I will tell you what is typical for static composition, and show how to achieve this in your work with an example. Static compositions are mainly used to convey peace and harmony. To emphasize the beauty of objects. Maybe to convey solemnity. Calm home environment. Items for a static composition are selected similar in shape, weight, texture. Characterized by softness in the tonal solution. The color scheme is based on nuances - close colors: complex, earthy, brown. The center is mainly involved, symmetrical compositions. For example, I will make a small still life. Its artistic value is not great, and all the techniques and means of composition in it are a little exaggerated for clarity)) So, for starters, I select the items that I will use and draw a diagram of my future still life. In principle, any object can be inscribed in one of these figures:

Therefore, we will take them as a basis. For my still life, I chose three objects - a cup, a saucer and, as an auxiliary object, a candy. For a more interesting composition, let's take objects that are different in size, but very similar in color and texture (as the properties of statics oblige). After moving the figure a little, I settled on this diagram:

The center is just involved here, the figures are located frontally, and are at rest.
Now we need to decide on the tonality of objects, that is, divide into the lightest object, the darkest, and a semitone. And at the same time with color saturation. Having painted over the figures, and having played a little with colors, I stop at this option:

Now, based on this scheme, I build my still life. I take pictures and this is what I get:

But as we can see, this does not quite fit the properties we need. We need to achieve greater generalization of objects so that they practically look like a single whole, and also the colors are closer. I am going to solve these problems with the help of light. I use combined lighting - a combination of directional and diffused light: a dim fill light, and a directional - flashlight beam. After a couple of frames and experiments with light, I manage to achieve the desired result. I process it a bit in FS and here is the result:

As you can see, we managed to create a static still life, according to all the rules: Objects are at rest, in the center of the composition, overlapping each other. The colors are soft and complex. Everything is built on nuance. Items are the same in texture, almost the same in color. The common lighting solution unites them and creates an atmosphere of calm and harmony.

DYNAMICS

Now let's move on to dynamic composition. Dynamics is the complete opposite of statics in everything! Using dynamic construction in your works, you can more vividly convey the mood, an explosion of emotions, joy, emphasize the shape and color of objects! Objects in dynamics are mostly lined up diagonally, an asymmetric arrangement is welcome. Everything is built on contrasts - the contrast of shapes and sizes, the contrast of color and silhouettes, the contrast of tone and texture. The colors are open, spectral.
For clarity, I will take the same objects, only I will replace the cup with a more contrasting color. Again using our three figures, I build the composition, but based on the properties of the dynamics. Here's the diagram I came up with:

Now I am working on tone and color, not forgetting that everything should be as contrasting as possible in order to convey movement in a still life. Here is the tonal sketch ready:
Now we are turning all this into reality, arranging objects, taking shots. Let's see what we got and what needs to be changed.
So, the location seems to be good, but because of the general light, it was not very possible to create contrast, especially in colors. The objects look too much the same. I decide to use a colored flashlight to emphasize the shape and make the objects contrast in color. I experiment with blue light, choose the most successful frame in my opinion, refine it a little in FS and here is the result:

Now everything seems to be in place. The composition is built diagonally, the objects and their arrangement relative to each other are dynamic, one might say contrasting: the saucer is standing, and the cup is lying. The colors are more than contrasting.)) The same applies to tone. That's like all. I specifically tried to keep all the tricks and rules to a minimum so as not to rewrite the numerous pages of the abstract here.))

Each of us, looking at a photograph, wants to find something special, unique in it, something that will make you look at this picture. A person tries to find diversity and originality in everything.
If you spend an hour or two looking at a photo site like Flickr or something like that, you'll find a lot of very similar landscape images. They will depict different areas, but all of them are united by monotony and boredom. However, if you look at the top shots, you will notice that there is something unique about them, these shots capture life. In other words, the shots that people are sure to like have what you might call the dynamic nature of landscape photography.

What is dynamics in a landscape image?

Summer storm (Queenstown, New Zealand). Here's an example of a dynamic landscape image. To maximize the amount of elements in this dynamic image, the photographer set up the camera, set a good shutter speed, and took a series of photos. All the waves that hit the shore during this time seemed to mix with each other and form the final image.
Even on Wikipedia, there is an article on Dynamics in the depiction of the landscape, but again, this is just a personal interpretation and description of the author's personal thoughts.
In my opinion, dynamics in the landscape is the ability to transfer the energy of nature, the transfer of its power and strength. Often, dynamic photos go beyond the usual 2-D image, they are deep, strong, looking at them gives the impression of a 3-D shot.
The term "Dynamic Landscape Image" was first coined by renowned American landscape photographer Galen Rowell. Rowell used the term to describe his work as early as the early 1970s. Of course, he was not the only landscape painter of that time, and not the only landscape painter whose work was distinguished by dynamism, but it was Galen Rovell who owns this term and he became his calling card, and Rovell began to be identified with the expression "dynamic landscape".

Dynamic composition

Composition is the foundation of all great photography - dynamic or not, it doesn't matter. Pictures with a good composition attract attention, make you stop near this photo, at least for a few seconds.

Sunrise over the Moeraki boulders, (Otago, New Zealand). Seascapes lend themselves easily to creating a dynamic landscape.
This image perfectly combines all the necessary elements that make the picture dynamic:

Ascending and descending lines;
Interesting perspective;
Visually interesting foreground objects;
Visually interesting skyline and landscape background;
Bright color and light in the photo;
Harmonic color gamut and vignetting;
Image of movement.

It is important to note that the photographer rarely manages to ensure that all these qualities are collected in one photograph. In fact, individually they occur all the time, in landscape photography there is always one of these elements, but it would be great luck to have everything at once.
The information provided in this article should not be taken as a clear guide to taking good photographs. Photography is an art, in order to create beautiful pictures you need talent, a creative approach to business and, of course, experience and practice. The recommendations given to you for your consideration can only be used as a guide for developing your own technique and skill.
Let's take a quick look at each of the theses about Dynamic Scenery.

Ascending and descending lines

One of the easiest ways to draw the viewer's attention to your shot is to use lines in your frame. Converging lines have been used by artists for centuries to create the illusion of depth in a painting within a two-dimensional space.
That is why photographs depicting piers, roads and rivers are so popular and are successful subjects for photographs. Many consider these objects in the frame to be rather formulaic, but it is important to be able to properly use such things when photographing a landscape.
Rising lines not only draw attention to the photo, but also help keep the eye on the photo.

Queenstown, New Zealand. The photograph of the pier combines both ascending and descending lines. The lines of the pier are directed to the sky, while the lines of the clouds are directed downwards, as a result, all the lines in the photo visually converge on the horizon. Drawing our attention there. Shoot man-made lines, they will teach you to look for finer lines in nature.

Despite the fact that the pier is the central object in the picture, which is at the same time the source of the main lines in the frame, there are also a number of others created with the help of water, hills and clouds. The dark lines in the water reflection help keep the eye in the center of the photo.

Are you a photographer. You are paid to show people something more than they can see for themselves, which means you have to show the world in an unusual light.
It is highly recommended that you take photos outside of your own comfort zone. As practice shows, photos taken lying on the ground, snow or mud have a more dynamic composition.
This is especially noticeable when shooting with an ultra-wide-angle lens. Even the smallest guide lines become noticeable, when shooting the same landscape, but from a standing position, these same lines become invisible.
Try taking pictures from above. Pictures taken at height also look very attractive.. Try climbing a tree or stand on someone's shoulders and look for an interesting perspective. Photos taken with a telephoto lens, and even at a height, are especially good.

Paddock Bay Lake Wanaka New Zealand. The photographer had to step out of his own comfort zone to take this shot. But in return, he received a magnificent image of the rocks and their reflection. Also, pay attention to the strong lines present in this frame.

Foreground elements

All dynamic photographs feature strong foreground elements that complement the whole image.

Let's take a sunset (or sunrise) image as an example. Beautiful sun rays, golden and red clouds, all this is very beautiful, and looks great in the photo. But it is unlikely that the viewer will be attracted by the image of only illuminated clouds, here I want something more.
The best action photos tend to have an interesting foreground. It is the job of the photographer to complete the picture. You need to find something that will complement your photo in the foreground, and if this item also adds dynamics to the image, then this is a guarantee of a successful, dynamic shot.

Visually interesting background elements

The foreground elements and the background elements in photography can be defined as the actors of the first and second plan in the cinema. Of course, everyone is following the main character, but without a well-chosen supporting cast, the film will not turn out to be as interesting and enjoyable to watch as it could be.

Milford Sound, Fiordland New Zealand. In this case, the heroine of the photograph is the dramatic play of light in the clouds above the mesmerizing Miter Peak - elements in the foreground that hold the photograph together.

Color and light

The color scheme of the image and the right lighting play an important role in creating a harmonious, beautiful frame. Any color will look especially beautiful in natural light.. Too bright colors should be either balanced or completely excluded from the overall composition. Very often people focus on too variegated color, or bright light, then this is the wrong decision.
With a dynamic image of the landscape, there should be a color balance, so it's best to try to avoid too many shades.

Sunrise from Mount Taranaki / Egmont, New Zealand. In this image, the main goal was to show scattered rays of light and rich color in the clouds. Color is just one component of an image. The dark mysterious hills here are in excellent contrast with the bright clouds.

Too strong color. Incredibly bright sunrise, so bright that the colors in the photo look unrealistic, although in fact the only processing of this photo was to reduce the saturation of the red color.

vision blockage

It sounds like the name of a top-secret US program, but it's actually just plain vignetting.
When vignetting in a photograph, the central element of the frame immediately catches your eye. The dark edges in the photo help to focus on the central image. View many images and you will notice this effect in many shots. Vignetting occurs due to the features of the camera, or with the help of a special filter. Most often, a slight darkening at the edges of the photo is added during graphic processing of the image.

A cloud moving to nowhere, across the endless expanses of heaven. The picture was taken in New Zealand. It perfectly combines a bright, light center and slight vignetting at the edge of the image.

Movement

Motion conveyed through blur, or through slow shutter speeds, is an optional but always very nice element in a dynamic landscape photograph.
Light haze, or fog, is a stream of water shot in aperture priority mode at a slow shutter speed. The water looks a bit frozen, stopped in time.

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