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Composition

Foundations of Design
      2007-08
    Semester 1
Format

         • The first decision we are
           faced with in any creation is
           the choice of our format.

         • Since the Renaissance
           formats often have a
           proportion known as The
           Golden Ratio:



         • The Golden Ratio can also be
           calculated as: 1.618….
Point             -

        •The most basic element of any
        composition is the point.

        •The point is a small mark placed in the
        composition and is not to be confused
        with the geometric point, it is not a
        mathematical abstraction.

        •The point has form and color. This form
        can be a square, a triangle, a circle, etc.

        •According to its placement on the plane
        the point will have different effects.
        It can be isolated or put in resonance
        with other points or lines.
Line
       •The line is the product of a force. The force
       applied on the pencil or on the paint brush
       by the hand of the artist.

       •The produced linear forms can be of
       several types: a straight line, an angular
       line, or a curved or wave-like line.

       •The effect produced by a line depends on
       its orientation: the horizontal line
       corresponds to the ground on which man
       rests and moves and has a static effect. The
       vertical line corresponds to height and to
       mans aspirations to the heavens.
To whom do we owe these
     observations?
Wassily Kandinsky 1866-1944
• Born to a musical family the
  influence of music on Kandinsky’s
  art and theories is immense.
• Kandinsky studied law and was
  active as a lawyer up until his early
  thirties. His orderly, lawyer’s mind is
  evident in his work as well.
• Kandinsky was heavily influenced by
  Theosophical teachings and believed
  that the universe is put together
  from basic building blocks all
  evolving towards consciousness
Kandinsky – the artist
• Kandinsky’s art career was
  ignited by his visit in 1895 to
  an Impressionist exhibition
  where he witnessed Monet’s
  “Haystacks at Giverny”
• Kandinsky started his art
  studies in his thirties and
  combined his artwork with
  extensive theoretical writings.
• One of the most famous 20th-
  century artists, he is credited
  with painting the first modern
  abstract works.
• One of the master teachers at
  the Bauhaus school in Weimar.
                                    Claude Monet -
                                    Haystacks at Giverny
                                    1890; Oil on canvas,
                                    60x100cm
Kandinsky and the metaphysical in Art




                                                                                         Kandinsky -
                                                                                         Yellow, Red, Blue
                                                                                         1925; Oil on
                                                                                         canvas, 127x200cm

•    Kandinsky’s greatest contribution to the evolution of Art and Design was his formulation of an
     approach that maintained that in order for Art to attain a universal significance it must free itself of
     “decoration” and “rhetoric” and remain a whole unto itself, having significance only as a function of
     the spiritual quest of it’s creator.
•    Kandinsky believed art to be an autonomous language governed by it’s own set of universal rules –
     similar in many ways to music.
Point and line to plane (1926)
• Kandinsky’s theoretical analysis of the geometrical
  elements that compose every painting, are the basis of
  our discussion of composition.
• The novelty of Kandinsky’s approach is that he bases
  his research on the point of view and inner effect that
  these elements have on the observer who looks at
  them and lets them act on his senses.
• Kandinsky believes that the artist is obligated to
  employ color and form to best create an experience
  that is in harmony with his inner world.
Lets look at some simple line and
      point black and white
         compositions…
Foundations Of Design - Composition Lecture1
Foundations Of Design - Composition Lecture1
Foundations Of Design - Composition Lecture1
Foundations Of Design - Composition Lecture1
Foundations Of Design - Composition Lecture1
Foundations Of Design - Composition Lecture1
Foundations Of Design - Composition Lecture1
Foundations Of Design - Composition Lecture1
Foundations Of Design - Composition Lecture1
…and now for some more
 complex compositions
Mondrian -
Composition with
Gray and Light
Brown
1918; Oil on
canvas, 80x50cm
Mondrian -
 Composition with
Red, Yellow and
Blue
1921; Oil on
canvas, 39x35cm
Mondrian -
 Broadway Boogie
Woogie
1943; Oil on
canvas, 127x127cm
Rothko -
Untitled
1949; Oil on canvas
Rothko -
Orange and Yellow
1956; Oil on canvas
Klee-
 Mural from the
Temple of Longing
1922; Water colors
on cardboard
Klee-
 Portrait of an Artist
1927; Oil and collage
on
cardboard, 63x40cm
Klee -
 Scherzo with Thirteen
1922; Water colors
and ink on
cardboard, 28x36cm
Miro -
 Landscape (The Hare)
1927; Oil on
canvas, 51x76cm
Miro -
 Personage
1925; Oil on
canvas, 51x37cm
Kandinsky -
Autumn in Bavaria
1908; Oil on canvas,
45x33cm
Kandinsky -
Improvisation 7
1910; Oil on
canvas, 97x131cm
Kandinsky -
Composition 4
1911; Oil on
canvas, 250x160cm
Kandinsky -
On White 2
1923; Oil on
canvas, 105x98cm
Kandinsky -
Composition 10
1939; Oil on canvas, 195x130cm
Thank You

Good Luck…

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Foundations Of Design - Composition Lecture1

  • 2. Format • The first decision we are faced with in any creation is the choice of our format. • Since the Renaissance formats often have a proportion known as The Golden Ratio: • The Golden Ratio can also be calculated as: 1.618….
  • 3. Point - •The most basic element of any composition is the point. •The point is a small mark placed in the composition and is not to be confused with the geometric point, it is not a mathematical abstraction. •The point has form and color. This form can be a square, a triangle, a circle, etc. •According to its placement on the plane the point will have different effects. It can be isolated or put in resonance with other points or lines.
  • 4. Line •The line is the product of a force. The force applied on the pencil or on the paint brush by the hand of the artist. •The produced linear forms can be of several types: a straight line, an angular line, or a curved or wave-like line. •The effect produced by a line depends on its orientation: the horizontal line corresponds to the ground on which man rests and moves and has a static effect. The vertical line corresponds to height and to mans aspirations to the heavens.
  • 5. To whom do we owe these observations?
  • 6. Wassily Kandinsky 1866-1944 • Born to a musical family the influence of music on Kandinsky’s art and theories is immense. • Kandinsky studied law and was active as a lawyer up until his early thirties. His orderly, lawyer’s mind is evident in his work as well. • Kandinsky was heavily influenced by Theosophical teachings and believed that the universe is put together from basic building blocks all evolving towards consciousness
  • 7. Kandinsky – the artist • Kandinsky’s art career was ignited by his visit in 1895 to an Impressionist exhibition where he witnessed Monet’s “Haystacks at Giverny” • Kandinsky started his art studies in his thirties and combined his artwork with extensive theoretical writings. • One of the most famous 20th- century artists, he is credited with painting the first modern abstract works. • One of the master teachers at the Bauhaus school in Weimar. Claude Monet - Haystacks at Giverny 1890; Oil on canvas, 60x100cm
  • 8. Kandinsky and the metaphysical in Art Kandinsky - Yellow, Red, Blue 1925; Oil on canvas, 127x200cm • Kandinsky’s greatest contribution to the evolution of Art and Design was his formulation of an approach that maintained that in order for Art to attain a universal significance it must free itself of “decoration” and “rhetoric” and remain a whole unto itself, having significance only as a function of the spiritual quest of it’s creator. • Kandinsky believed art to be an autonomous language governed by it’s own set of universal rules – similar in many ways to music.
  • 9. Point and line to plane (1926) • Kandinsky’s theoretical analysis of the geometrical elements that compose every painting, are the basis of our discussion of composition. • The novelty of Kandinsky’s approach is that he bases his research on the point of view and inner effect that these elements have on the observer who looks at them and lets them act on his senses. • Kandinsky believes that the artist is obligated to employ color and form to best create an experience that is in harmony with his inner world.
  • 10. Lets look at some simple line and point black and white compositions…
  • 20. …and now for some more complex compositions
  • 21. Mondrian - Composition with Gray and Light Brown 1918; Oil on canvas, 80x50cm
  • 22. Mondrian - Composition with Red, Yellow and Blue 1921; Oil on canvas, 39x35cm
  • 23. Mondrian - Broadway Boogie Woogie 1943; Oil on canvas, 127x127cm
  • 25. Rothko - Orange and Yellow 1956; Oil on canvas
  • 26. Klee- Mural from the Temple of Longing 1922; Water colors on cardboard
  • 27. Klee- Portrait of an Artist 1927; Oil and collage on cardboard, 63x40cm
  • 28. Klee - Scherzo with Thirteen 1922; Water colors and ink on cardboard, 28x36cm
  • 29. Miro - Landscape (The Hare) 1927; Oil on canvas, 51x76cm
  • 30. Miro - Personage 1925; Oil on canvas, 51x37cm
  • 31. Kandinsky - Autumn in Bavaria 1908; Oil on canvas, 45x33cm
  • 32. Kandinsky - Improvisation 7 1910; Oil on canvas, 97x131cm
  • 33. Kandinsky - Composition 4 1911; Oil on canvas, 250x160cm
  • 34. Kandinsky - On White 2 1923; Oil on canvas, 105x98cm
  • 35. Kandinsky - Composition 10 1939; Oil on canvas, 195x130cm