Compositional Theories Research

The goal of this research was to learn about well known theories of composition and write down their main principles, alongside some example images of artwork utilizing several theories. This is what I could find out about several of the theories and how one might intersect with another.

Rule of odds: This is the theory that an odd number of objects in a composition is more pleasing to the eye than an even number– which can appear too formal or unnatural, too well balanced. The objects do not have to be the same subject multiple times, like three figures or still life objects, but an odd number of points of interest against the background.

Rule of thirds: This helps in making sure not to place the composition too centrally or symmetrically. An imaginary three by three grid laid over the composition with the idea being to place points of interest on the intersecting lines, especially at the points where lines meet. Placing the subject matter on these points keeps the eye moving, creates interest in the composition, and feels less static. It’s also a good idea to keep each section of the as unique as possible, and not repetitive.

Active Space: Compositions have positive and negative space, the positive being the subject, the negative being the space around it. The active space is room in the composition around the subject to make it look alive, to give the illusion that there is life around the subject, a space for narrative and movement or motion. The subject (especially if the subject is figures) can be placed to lead the eye toward the space, as if the subject could move into it, or something else might take place in that space. It keeps things moving and the audience invested.

Strong Diagonals: A strong diagonal will help lead the eye through an image more-so than a horizontal or vertical line, it creates a feeling of movement during a static image. It brings tension and has a strong impact. Can be used to great effect in conjunction with Leading Lines

Leading lines are a way to draw the eye through an image, to direct the focus to the main subject or to the areas of greatest interest. They can be achieved with the edges of objects or with changes in tone. They should be subtle and feel naturally a part of the composition, and it’s important not to lead the eye off the page or point to nothing.

Framing is the placement of the subjects and the points of interest within the piece; of situating them for grestest effect. A way to think about focal points and what you want to draw the eye to, and using other elements within the composition to frame them. You can do this by using tone, light and dark, to draw attention to part of the subject and highlight it, or by placing other objects to “look through” and surround the thing you want to draw the eye to. I feel it could utilize active space and using the two theories together might be very effective.

Filling the frame is a way to get a very close up view of the subject and make it the entire focus of the piece. This is done by extreme cropping and is especially effective if the view is so enlarged that the subject spills out of the edge of the frame. It results in most of the composition being positive space with only a hint of background or negative space.

Paintings and drawings I found with examples, and annotated with my observations: