The
composition
The task of analyzing the composition of artwork
must begin with the question:
«What makes this
painting singular
and recognizable?
»
It is a organizational
process in which the
visual elements are
placed on a surface or
a space with a specific
purpose or aim.

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.
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.







Axes or schemes of composition
Format
Figure and background
Weight and balance
Symmetry
Rhythm and movement
Proportion
• The scheme of composition is the group of
that organize the spaces where the
visual elements are going to be put.
 Consists of:
 Geometrical figures
 Straight lines and curves
 Simple or complex modular networks
Esquema en
aspa
X scheme
Is the combination
of two or more simple
compositional
schemes

Gives the
composition a greater
sense of complexity

One point perspective composition that gives us the
sensation of tranquility and calmness.
Spiral composition that produces the effects of
movement and speed.
Composition with curved and oblique lines that
produces the sensation of dynamism.
El triunfo de Baco, Diego de Velázquez
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.
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
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
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.
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.
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

 Types of format:
Flat Format
Three dimensional Format
Irregular Format
The Golden Number
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.

Vertical format
Vertical
format
We can easily observe
a vertical axis in a
composition, which gives
the painting a sensation
of equilibrium or balance.

FLAT FORMATS
Horizontal format:
Widely used in landscape
themes and still life
paintings.
 It helps to create the
effect of order in its
elements.

FLAT FORMATS
Still life, Zurbarán
FLAT FORMATS
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

Circular format:
Encircling movement
Focuses our sight in
the center and
produces a visual
effect of stable
equilibrium.
Goya chose a
spherical shape for
his painting. The
people leaning on the
railing around the
circle create a three
dimensional effect.

GOYA: MIRACLE OF SAINT ANTHONY OF
PADUA
Tends to group the
forms inside, creating
a feeling of calmness.
 Produces a visual
effect of movement,
energy and freedom
 Mostly used in
advertising for children
and in comic strips
=
1 5
 1,618
2
Making a rectangle in golden proportion
B
Firstly, we draw a square
Wemake
extend
line of
of
We
thethe
layout
of the
the base
perpenThetipsquare
bisector
Stickdicular
the
of the compass
on point A, open the compass up to
Point B and draw an arc up to the line
Complete the
rectangle
A
THE GOLDEN NUMBER IN A FACE
DRAWING A RECTANGLE IN GOLDEN PROPORTION
DIVIDING A PAPER USING THE GOLDEN NUMBER
C
B
D
D
E
E
C
A
B
A
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.

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.

The visual weight
or centre of
attention is the
main area of the
composition,
where forms and
colours draw our
sight.
The following factors influence the visual weight
Size: The bigger the size, the bigger the weight.
Colour: Warm colors, such as red, weigh more than cool
colours, such as blue
Lighter values on a dark background weigh more than
darker values due to contrast.
Position: a strong position on the structure (Axis,
diagonals, main points) weighs more than another offcenter or remote position
We can get visual
balance by distributing
and compensating the
visual weight and the
direction of the forms

Wassily Kandinsky
It is a basic system for
the arrangement of the
forms

The forms are organized
with respect to an axis

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.
El Nacimiento de venus, 1485, Boticelli
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.
Rhythm and movement
Rhythm is an art principle that shows the movement with
the repetition of the elements and objects.
Where there is similarity there is repetition, therefore
rhythm and frequency.
Visual movement is the art principle used for creating the
sensation of motion and guiding the sight of the observer
in the artwork.
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.