2. Composition, as previously stated, is the
conscious selection of visual elements,
employed in design, through the use of some
guiding principles, for the purpose of achieving a
pleasing or desired result.
7. As suggested in the earlier lecture, the moment
we open our eyes and focus on something, our
mind automatically perceives a composition
within our visual field.
We emphasize the object or objects we focus
on, while unconsciously subordinating and
balancing all other visual elements, so as to
avoid competition, clutter and confusion.
We determine the order in which to “engage “ the
things we are seeing thus providing continuity to
our composition.
EMPHASIS, BALANCE AND CONTINUITY
THE 3 ELEMENTS OF COMPOSITION.
8. BALANCE: THE EQUILIBRIUM OF OPPOSING OR
INTERACTING FORCES OR VISUAL WEIGHT
WITHIN A VISUAL FIELD OR COMPOSITION.
THERE ARE TWO CATEGORIES OF BALANCE
A. FORMAL SYMMETRY
B. INFORMAL SYMMETRY
SYMMETRY MEANS EQUAL PROPORTION
THERE ARE 4 TYPES OF FORMAL SYMMETRY
1. TRUE SYMMETRY
2. VIRTUAL SYMMETRY
3. RADIAL SYMMETRY
4. CRYSTALOGRAPHIC SYMMETRY
9. TRUE SYMMETRY: Balance in a composition
achieved by the equal distribution of all visual
elements across a central, vertical or horizontal axis.
10.
11.
12.
13. True symmetry is somewhat
contrived. It nearly never
appears in nature. It is
typically a man-made
creation that, more often
than not, appears static,
unless it is acted upon by
some other force.
16. VIRTUAL SYMMETRY:
Balance in a composition
achieved by a similar
distribution of like visual
elements, across a
central
axis.
The human face is a
good example of virtual
symmetry.
17.
18.
19.
20. CLASSICAL BEAUTY REFERS TO NEAR PERFECT
SYMMETRY IN PHYSICAL APPEARANCE WHILE
CONFORMING TO PROPORTIONAL STANDARDS
LETS DO A LITTLE TEST!
TAKE A LOOK AT THE FOLLOWING PICTURES OF
FACES AND RATE EACH ONE FOR POSITIVE
CHARACTERISTICS ON A SCALE FROM 1 TO 5
1 BEING LOW AND 5 BEING HIGH
21.
22.
23.
24.
25.
26.
27.
28.
29.
30. RADIAL BALANCE:
Balance in a composition
achieved by the similar
distribution of elements
emanating from a central
point. Typically the
composition is dynamic
rather than static. i.e. use
of rotation, pulsation
and radiation or explosion
are common.
31.
32.
33.
34.
35.
36. CHRYSTALLOFRAPHIC SYMMETRY: A symmetrical pattern
or motif , distributed evenly across a visual field without placing
emphasis on any single
element or axis.
37.
38.
39. INFORMAL BALANCE
ASYMMETRY: Balance in a composition achieved in one of
two ways:
1. Balance in a composition achieved by a
distribution of similar or dissimilar visual elements,
across a central vertical or horizontal axis.
