15. Composition

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Link means positioned in the color near two or more colors so that the combination was very impressive. For a general solution of the composition has a color value range of colors and their relationship to each other, their position and direction within the composition, configuration, shapes, simultaneous communication dimensions of color space and contrast ratio as a whole. Thread color composition is so diverse that there is an opportunity to reflect only some of its key provisions.

In the section on color harmonies, it mentioned the possibility of creating a harmonious composition. When considering the expressive properties of color, we have established the necessary specific conditions and relationships that could identify in every color its characteristic expression. The nature and impact of color is determined by its location in relation to the accompanying him flowers. The color is never alone, he is always seen surrounded by other flowers.

The further on the color circle one color away from each other, the more they contrast with each other. However, the value and meaning of each color in a picture is determined not only the surrounding flowers. The quality and size of the color planes are also extremely important for the impression produced by this or that color.

In the composition of the picture it is important as the location of the color and the direction of the color smear. The blue color of the composition produces a different appearance depending on whether he is at the top or bottom of the picture to the left or right. At the bottom of the composition blue heavy, at the top it seems easy. Dark red in the upper part of the picture gives the impression of something heavy, inevitable and terrible, and at the bottom – it seems calm and self-evident. Yellow in the upper part of the work gives the impression of lightness and weightlessness, the bottom is – if he rebels in prison. One of the most important tasks is to provide a composition balance color masses. Just as the balance beam equilibrium needed for the fulcrum, and the vertical axis of the picture needed balance on both sides of that divided the “weight” of color masses.

There are various ways to accentuate areas within the space of the picture – horizontal, vertical, diagonal, circular, or combinations thereof. Each of these has its own particular expressive meaning. “Horizontal” – emphasizes the severity, length and width of the space. “Vertical” is the antithesis of the “horizontal” and expresses lightness, height and depth. The point of intersection of the horizontal and vertical appears particularly accentuated place. Both of these trends are and the nature of the plane while using create a sense of balance, strength and stability of the material. “Diagonal” directions create movement and develop the space of the painting in depth. On gryunevaldovskom “Resurrection” diagonal arrangement attire separates our view of the horizontally constructed foreground and takes it up, immersed in the contemplation of the shining celebration. The painters of the Baroque using diagonals sought in their frescoes illusions deep perspective. El Greco, and Maulpertsh Fox, using his work contrasts trends in the movement of color and form, and giving priority to the diagonal reasons, reached a particular expressive expressiveness. Chinese painters along with the vertical axis and consciously used the movement diagonally to divert the viewer’s gaze into the depths of the landscape, and these diagonals are often lost in the dizzying expanses. Cubists used the diagonal orientation and triangles with very different objectives to strengthen the impression of depth of the relief work.

The terms of belonging to “the circular” form, forcing the viewer to focus his attention and also cause the sensation of movement. An excellent example of circular motion can serve as a compositional solution clouds in the picture Altdorfer “The victory of Alexander,” which repeats and reinforces the dynamics of the battle scene. Titian in many of his paintings used the contrasts of light and dark tones in both horizontal and vertical directions. In connection with this appointment he was called “the formula of Titian.” With the same purpose it is placed in the composition of the figures in the diagonal or circular motion.

One of the features of our view is that it tends to unite like with like, and to take them along. These identities are recorded in color, in size, in comparison dark spots on the invoices and accented center of the composition. On the basis of these similarities in the eyes of the viewer when viewing the product formed a kind of “configuration”, its image. It can be considered as “simultaneous”, because the image appears on the basis of speculative association recorded the likes and has no material expression. Simultaneous forms can occur even when the Revue two sections of different colors and sizes. On the other hand, the eye, tend to see the same colors together, in a situation of complex color can generate multiple simultaneous images. The nature of the directions and distances of simultaneous form the overall impact depends on the composition. All claims forms must hold simultaneous with respect to each other their specific position. The fact that identities are creating their simultaneous form, means the appearance in the film more and more systems of order and distinction. That is exactly the same as the human community unites people on the basis of kinship of blood, ideologies or social status and related identity in the painting determine its own internal procedures.

Procedure in the picture besides can also be achieved through the organization of warm and cold, light and dark color groups in well-defined patches and weight. A prerequisite for a successful composition is clear and accurate location and distribution of the main contrasts. Very special importance in the organization of the picture has the consistency of direction or parallels. Using them can be linked a variety of visual group. When color is used as a mass or a bright spot, it can be amplified by means of so-called “movement.” Red and green form two masses that can be embedded into each other, and if part of the red moving to green, and the green part is to get into the red. The main thing that the movement of the masses and did not destroy any spots of each other, neither of the main idea.

It is also important to decide whether the color form be static, dynamic, or free-floating. Thus, one form may float freely in the space and do not have anything related. A similar shape can be “attached” to the left and right edges of the picture, or to the upper or lower edge of it, or to both at once. This “attachment” is called “stretching” of color or shape. The wall painting this technique is essential to stabilize the composition. This is particularly evident in the frescoes of Giotto. The same stability can be achieved and at the expense of verticals and horizontals underscores in any freeform. These accents, thanks to their parallel edges of the picture, and provide a sense of stability. Built on this principle paintings seem self-contained worlds. In cases where such exclusion is not desirable and the picture should be integrated with the world and its infinite shapes and colors, borders the product is not emphasized and the picture is composed as possible without emphasis clearly expressed orientation of the boundary lines. There has been listed many ways to create color compositions. However, the implementation plan of the flow of intuitions should not be constrained by strict rules, because the plans are not always so clear.