dynamic pictures. Statics and dynamics in composition

Hello, dear readers my blog. Today let's talk about statics and dynamics in composition. Last time I talked about symmetry in composition. Knowledge of such rules contributes to the successful construction of a composition in painting and in other forms of art.

Statics

STATIC, STATICITY(Latin staticus, from Greek statos - "standing") - in fine arts- quality of rest, balance of visual forces (see design; style; balancing). In most cases, corresponds to symmetrical compositions with metric structure inherent in the art of Classicism. Opposite qualities- dynamism, asymmetry, rhythm inherent in the Baroque style (comparative expression).
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According to the construction schemes and the nature of the interpretation compositional solutions are of two types: static and dynamic. Static compositions convey a state of peace and balance.

Compositions built in a rhythmic combination are based on color and line, the ratio of width and distance between them. Such works can be attributed to static compositions.

In addition to the static character of the figure itself, great importance the location of these figures in the composition plays, so the lower the entire composition is located to the edge of the sheet, the more static it looks. The more symmetrical, the more static.
But any static shape can be turned into a dynamic one: a square can be placed in a corner, a box can be placed vertically, a pyramid can be tilted, etc. In addition, they can be positioned in such a way that it seems to the viewer that it is all about to fall. A composition that tends to change from the arrangement of its elements is dynamic.

Dynamics

DYNAMICS(from the Greek dynamis - “strength”) is the alternation of any elements in a certain sequence. In dynamic compositions, elements are located along diagonal axes or freely located on the plane of the picture. They more clearly emphasize the feeling of movement, a more diverse arrangement of objects, there is a bold violation of symmetry. You can observe the displacement of the contours in relation to the color spots. The color solution in dynamic works can be pronounced and more emotional.

The dynamic ones are:
a triangle and a parallelogram standing on the short side, an ellipse, a ball, a pyramid, a parallelepiped standing on its narrow side, etc.

So, after some study of the materials, it's time to find out what materials can be made from, as well as to understand how it will look more profitable at work.

This is what will help us

The foundations of composition are largely composed of the theory

Composition is, in principle, the combination and correlation of parts of the work with each other. So to speak, the interaction of elements with each other.

So, how can the elements of a composition interact with each other?

For starters, there are two types of compositions: static and dynamic.

Static composition

dynamic composition

According to the names, each composition differs from each other in the presence of the illusion of movement and vice versa - in its absence.

The dynamism of the image can be achieved with the help of rhythm - the alternation of the same element

But in many ways, the dynamics depends on the transformation of forms, this is clearly seen in a similar example:

The figures in their direct position look static, but if they have a certain direction vector and they begin to repeat, dynamics is created.

Also, dynamics can be created due to the asymmetry of the elements, when the image does not repeat the elements exactly along the axis of symmetry, as in a mirror.

All compositions are built on the basis of where the dominant is located - the main element in the work, around which others are located. The dominant is the compositional center, which does not always coincide with the geometric center of the work.

Dominant depends on:

1. Its size and the size of other elements.

2. Positions on the plane.

3. The shape of the item, which is different from the shape of other items.

4. The texture of the element, which is different from the texture of other elements.

5. Colors. By applying a contrasting (opposite color) to the color of the secondary elements (a bright color in a neutral environment, and vice versa, or a chromatic color among an achromatic, or warm color with a common cold range of minor elements, or dark color among the light.

6. Developments. The main element, the dominant, is more developed than the secondary ones.

Despite the fact that the dominant is the main point of the composition, it should not be its only point. The remaining parts of the composition should complement it in a balanced way, creating the effect of image integrity.

One of the most common techniques for creating a composition is golden ratio, a concept that suggests that the main elements of the composition should be located in 1/3 of the length of the horizontal / vertical border of the sheet.

Elements of compositions lined up along the guides and points of the sheet look the most advantageous in the composition.

What is composition? Composition (from Latin compositio) means composition, connection combination various parts into a whole in accordance with any 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 means of expression: lighting, tonality, color, point and moment of shooting, plan, angle, as well as visual and various contrasts.

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.

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 lat. composition) means drawing up, combining a 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 artistic expressiveness compositions.

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 shapes:

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 more interesting composition Let's take objects 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 - a 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.))

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.