Each of us has more than once met photographs that were striking in their beauty and originality: it is impossible to take your eyes off them, they have a rich history of creation and worked out to the smallest detail. It seems that in order to create such a work of art, you need to get a good camera and start shooting, but in fact, this is not enough.
The lion's share of photography success depends on how well the master has worked out the compositional details and features of his work. Sometimes in this moment you can follow the generally accepted rules that are known to every artist, but often professionals in their field deviate from them, using extraordinary techniques, due to which the photograph becomes truly brilliant.
Indeed, composition is the main way to make a photograph beautiful, or vice versa - to ruin everything in it. None, even the most advanced technique, will do the job for you to find a suitable composition of the frame - this business needs to be painstakingly studied, experimented and never stopped looking for angles and options for frame construction. In this article, we will tell you about a number of compositional techniques that will help you make your photo more original and professional.
Rule of thirds
The popular compositional rule "Law of Thirds" involves dividing the frame into six evenly spaced lines, three of which are horizontal and three are vertical. It is this law that tells us that we should not try to place the object being photographed exactly in the center - this will confuse the viewer, because he will not understand which half of the picture is the main one. The points that form at the intersection of the lines are the nodes of attention. It is on them that objects and people should be placed, focusing attention on them. Also for this purpose, you can use the lines themselves, or rather choose one of them.
Symmetry and asymmetry in the picture
Sometimes centering a composition, consisting of small ordered lines, can be a special idea - then the composition “in the center”, which we talked about above, will be justified. Often such photos contain images of bridges and stairs. Then it is better to deviate from the rule of thirds and place the object with an accent point on the central part - you will emphasize the slender geometry, set a certain rhythm and create a perfectly verified shot.
Asymmetry is a very popular and “working” technique in photography. It can be found in works of various types: urban, natural landscapes, portraits, still lifes. The essence of the method is to correctly place the subject in the node of attention, but at the same time muffle other details of the frame.
Defocus
In order to make it easier for the viewer to place accents within the meaning of the photo, you can use the alternation of focus and defocus of the image. Any subject that requires maximum attention in the frame should be clearly visible, and everything else should be blurry. This can be a portrait, a snapshot of a car racing along the road, a horse in a jump, and much more.
Sometimes composition requires the opposite effect - when the sharpness is behind. Especially expressive are the shots with a blurred silhouette of a person, located against the background of a beautiful street or pond. The photographer invites the viewer to see not only what he sees through the lens, but also the picture through the eyes of the shooting model.
Framed photo
The frame can be not only in the form of a wooden frame of the photograph, but also inside the photograph itself. This artistic technique lends depth and expressiveness. The vaults and arches of beautiful buildings, ancient columns, even windows and doors, as well as natural “helpers”: tree branches, vines, and so on can become a frame.
It should be noted that the elements in the background should be arranged according to the rule of thirds.
Choose an advantageous angle that will capaciously cover the frame and give it the desired symmetry. In the case of landscape photography, the frame greatly lightens the composition, giving it an artistic flavor.
Creating lines
How to bring the viewer to the semantic accent of the photograph? Using lines that clearly indicate the direction in which to move. Any things with a slender geometric shape are suitable for this business: roads, walls of buildings, stairs and bridges.
If you see many horizontal lines in front of you, and they all add up to an interesting composition, make them the basis of the photograph, and in the very top third place one thing - the object that will crown the composition.
Working with triangles and diagonals
The geometry in the construction of the picture sets its dynamics, makes it deeper, and allows you to embody creative artistic ideas. The principle is simple: the photographer catches objects in the frame that are located in the ray method - the composition is split into triangles that cover the entire structure of the photograph. It is ideal to combine small and large objects: left, right, top and bottom. The main thing is to avoid grouping in the center and give the image non-standard symmetry.
Structure
When shooting buildings, interesting architectural structures, squares, squares, old streets, it is important to reflect the atmosphere of the place and highlight its peculiarity. One of the techniques that give a photo a special mood and aesthetics is the emphasis on textures, their selection, as well as repeating small elements that will help make the composition more interesting.
These techniques are especially well and successfully applied on unusual road surfaces: a stone path, paving stones on the road, an unusual tile ornament that you want to fix.
Even and odd parity in photography
One of the laws of photography says: there must be an odd number of objects in the frame. This is due to the fact that it is easier for the viewer to perceive a picture with a given compositional accent. If you see three people in front of you, attention will automatically focus on the central figure. Following this logic, two objects or people in the frame confuse the viewer. But if you shoot a photo with a live story, where two interlocutors are in the center of the frame, then you can deviate from the rule. Try to vividly display the gestures of people, their emotions and facial expressions, elements of articulation - then the picture will be interesting to look at for a long time.
Filling the frame
The basis of the filling technique is a close-up, which is devoid of the background. A human face, an animal's head, or any other object, for example, a building with beautiful architecture - anything that is noteworthy and capable of capturing details can become the center of the composition of the frame. Just a little sky at the top and at the edges, the lower horizontal line is enough - and now the picture is correctly filled. Reception is especially good in portrait photography, where it is important to emphasize the eyes.
Add air to the frame
A beautiful object against the sky, a lonely tree in a vacant lot, a lighthouse surrounded by water, a person in the middle of a landscape - such a minimalistic approach to creating a composition and a lot of free space make the picture “easier”, allowing the viewer to more easily perceive information and interpret it. By creating images with free space and air, you give your work more "breathe".
We focus on the look
When it comes to shooting portraits, the most important thing to know about composition is to keep the eyes in mind. Only in this way, by placing the main accents on them, you will convey all the emotions and thoughts of a person, his history and current state. Don't forget the rule of thirds: place the eye line at the top of the frame. By the way, the technique works not only on humans, but also on animals.
Experimenting with angles
Most human photography involves an angle at the model's eye level, in a standing position. This technique is standard and is used by many masters - this way you will most correctly and naturally show the proportions of the model's figure. But it is worth remembering that changing the symmetry of the lines and playing with angles can make the photo original and unusual - it is in such cases that it is very often possible to convey the idea behind the project.
So, for example, photographing a dog jumping from a low point, you visually increase the distance between the ground and its paws, creating semantic expressiveness. For landscapes with lots of interesting subjects, don't be afraid to shoot from above. It is very important to change the position of the camera in order to find something of your own, the most suitable.
Working with color
Color also plays a role in the composition. With the help of colors and their competent combination, you will reflect the mood of the frame and all the emotions. It is necessary for a photographer to study coloristics, but at first you can use a special color table, which is used in work by designers, artists and other creative people. The ability to combine shades and create a complete picture is an important skill that will take your craft to the next level.
Motion creation and direction selection
Any movement is perceived by a person from left to right - this is how we are made. When you shoot, keep this detail in mind and use it in your work. For example, a car rushes along the road, and a bicycle along a forest path, a person is running, and his dog is trying to catch up with a flying stick - every movement with dynamics should be directed to the right side.
It is very important not to forget to leave an empty space in front, which will help to better understand the dynamics of the composition, and where the hero of the picture is heading. A well-chosen and aligned direction of movement can work wonders with the dynamics of photography.
Balance
If you have a city street with a beautiful lamppost in front of you, arrange it according to the rule of thirds and include secondary elements in the frame - they should be at a distance: for example, on the other side of the road. This technique will balance the image, structurally balance it. In this case, the lamppost will continue to dominate, but organics will appear in the composition, it will become artistically interesting. Avoid single silhouettes that cut the photo apart.
Contrast in the frame
This is one of the most expressive techniques that gives the picture a unique atmosphere and reflects the two sides of reality. Old and new, black and white, funny and sad, children and old people, dynamics and statics - contrasts are always winning, and have their own philosophical idea.
Use the above compositional techniques in your photography practice, and you will surely find your own - those that will add flavor and originality to your work. Do not be afraid to look at the world through the lens from different angles, experiment with perspective and proportions, focus and defocus - this is the only way to make your creativity unique.
Date of publication:30.12.2013
In this article, we'll go over the basics of composition and framing. A few simple tricks will make our photos more beautiful and easier to understand. All the frames shown here were shot with a Nokia Lumia 1020 camera phone.
Frame format
The aspect ratio is called the aspect ratio, in addition, the vertical or horizontal orientation of the frame is distinguished. You can choose the format that suits you in the settings, right during shooting, or after, during framing.
Some of the common picture formats are:
1: 1 Square or one-to-one
3: 2 Classic 35mm film format or three to two
2: 3 Vertical same aspect ratio
4: 5 The classic, more solid “four to five” format - this format was used to make glass photo plates, format and some medium format cameras
16: 9 Young and dynamic widescreen format, known from film and video, and now found in photography
These are not all existing formats, but the main ones. By the way, it is often wise to crop your work not in an arbitrary format, but in one of the above - people are used to these aspect ratios, and a series of photographs look much better if the frame sizes do not jump from photo to photo.
Which format should you choose for a particular shot or the whole shoot?
The square is good for calm, complete, harmonious subjects. Including for still lifes or portraits of people in the appropriate mood:
But for comparison, the original, full frame from which the square was cropped:
Lumia 1020 SETTINGS: ISO 160, F2.2, 1/45 sec
Vertical shots well convey unstable balance, some kind of intention or possibility of falling, movement, change:
Lumia 1020 SETTINGS: ISO 100, F2.2, 1/110 sec
If you need to shoot a tall building or a rope walker who is balancing on a rope, a vertical shot is the best solution. And here is an example, when the dangerous and hysterical personality of the image just asks for a vertical, unstable frame.
The more traditional and vintage 4: 5 aspect ratio is great for classic portraiture, hinting at the historical analog roots of photography. I will give as an example shots from a camera phone Nokia Lumia 1020, stylized as analog shooting and printing in the Snapseed program:
Horizontal formats are good for landscapes, scenes with a large number of characters. When there is something to show in the background - be it the interior, views of the city or nature.
Lumia 1020 INSTALLATION: ISO 800, F2.2, 1/9 sec
They are also perfect for explicit movement, dynamics in a portrait. Even the widescreen 16: 9 format looks justified in such a situation.
Don't be afraid to experiment with formats and frame orientations - changing the window can make the world behind it newer and more interesting :-)
Model and background
The relationship between the model and the background is a difficult and very important issue. The very first thing to master is separating the model from the background. On the flat surface of the picture, the world is a little different from reality - a noticeable object sticking out of the model's head or “glued” to it from the side (line, horizon, bright spot on the background) can spoil the correct sense of space and take away the viewer's pleasure.
It's good when the model is noticeably lighter or darker than the background - this is called "tonal separation"
To be short, keep a close eye on the background - it should frame the model, revolve around it, but not conflict with it.
Lumia 1020 SETTINGS: ISO 100, F2.2, 1/2100 sec
While shooting, do not ignore the noticeable objects and lines in the background that will certainly catch the eye of your viewers as a result, but use them to your advantage - creating composition, balance, focusing on the model and her condition.
Point of view
Try unusual angles, camera positions and points of view - they will make your shots more interesting and show the viewer familiar things from a new angle.
In some places it is incorrect and the examples are strange (some :),
but overall fun stuff.
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A more complete list of compositional techniques. I would be glad to receive comments :)
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1. Composition as composition, combination, composition. Dialogue of compositional elements.
2. Integrity.
3. Diversity.
4. Polycentricity.
5. Saturation.
6. Instantaneousness.
7. Expressiveness.
8. Simplicity.
9. Harmony.
10. The unity of the composition.
11. SKTs (plot-composition center).
12. Studium and Punctum. Punktum as a point of initiation of the semantic center.
13. The problem of big and small. The contrast of values. Scale deformation.
14. The main and secondary roles in the plot.
15. Dynamics of the photographic frame.
16. Enhancing the perspective depth of a photograph using linear perspective. Guide lines and linear perspective.
17. Enhancing the depth of space in a photograph using aerial perspective.
18. Enhancing the depth of space in photography using color perspective.
19. Parallel lines in the composition. Preventing parallels at the edges of the art field.
20. Sensual and rational in composition.
21. Rule of three thirds, golden ratio, Fibonacci numbers.
22. A simple figure as the basic skeleton of the composition.
23. EER (natural frame effect). Enhancing the integrity of the composition by contouring the perimeter of the photographic image.
24. Geometric and plot active points of the composition.
25. Unexpected combinations.
26. Contrast of shapes and geometric structures.
27. Contrast of silhouettes.
28. Contrast of light and shadow (tonal contrast).
29. Contrast of warm and cold tones.
30. Contrast of complementary (complementary) colors.
31. Color dissonance, contrast of discordant colors.
32. Contrast of smooth and broken lines.
33. Contrast of three-dimensional and two-dimensional elements, volume and plane.
34. Contrast of near and far.
35. Contrast of moving and stationary details of the composition.
36. Logical, semantic contrasts.
37. Functional contrast of primary and secondary details of the composition.
38. Contrast of states, positions.
39. Contrast of characters, emotions, psychological contrasts.
40. Subject contrasts that form a cause-and-effect relationship.
41. Contrast of scene and mise-en-scene.
42. Overlapping. Strengthening the integrity of the composition due to overlapping objects.
43. Temporal contrast (combination in one photograph of manifestations of what has already happened, what is happening, and what will happen).
44. Contrasts of style.
45. Contrasts of characters.
46. \u200b\u200bReflections and repetitions.
47. Symmetry or obvious asymmetry of the composition.
48. Rhyme and rhythm.
49. Movement in the frame. Wiring as a means of highlighting the main object or SKZ.
50. Manipulation of symbols and signs.
51. Printed text within or outside the frame of the photograph, bearing a pictorial load.
52. The story and the concept of photography.
53. Photographic image (photograph or a series of photographs), implying a temporal narration, metaphorical story, “photo story”.
54. Correlation of SKTs and free space. The relationship between object and emptiness. Working with emptiness. Environment, framing of the SKTs, the main object of the composition.
55. Ideological key, semantic polarity of photography.
56. Apollonian harmony and Dionysian catharsis.
57. Ambiguity and ambiguity of the plot. Humor and irony.
58. Still life, close-up, macro - as a means of photographic expressiveness.
59. Charm, glamor, something enchanting.
60. Romance, eroticism and sex.
61. Using celebrities in the plot.
62. Using the effect of déjà vu ("already seen").
63. The principle of even-odd, yin-yang in a holistic, coherent and harmonious composition.
64. Aggregate and complex application of all the laws and rules of composition to find the optimal compositional solution on the principle of thesis - antithesis - synthesis. Photography as the art of spontaneous catching of a unique miraculous harmonious moment.
Understanding composition is a thing that every photographer should take their time on. Without having to invest in expensive equipment, understanding the elements of good composition will undoubtedly improve your photographic work. Developing photographic vision comes naturally to some, but others need to take the time and effort to hone their visual skills and abilities. Here is a selection of tips and tricks to help you evaluate and compose your work.
If you have time, find a reason to concentrate and practice these skills, and definitely try to keep them in mind the next time you take a shot, it can help you feel the difference between taking a good shot and a great shot.
Step 1 - don't try to be perfect
It is important to understand that there is no such thing as a "perfect" composition. Since it is a subjective art form, you will never get to the point where you get the perfect shot, but it is quite possible to have shots with poor and good composition. There are many elements of photo composition that I will go into in detail in this article. Each of the sections is just a simple guideline to help you get stronger, more engaging images.
Step 2 - simplicity
One of the main things to pay attention to is the position of the elements in the frame relative to each other. Based on this, you will need to decide what to include in the frame and what to remove from it. It is often tempting to fill the frame with as many interesting objects as possible, but when it comes to composition, it’s better to be selective about what you include in the frame and be mindful of your choices. Some of the brightest photographs have very simple but effective compositions, the gaze follows the image without interference, and the viewer is involved in a clear and effective shot.
Step 3 - the rule of thirds
One of the simplest rules of composition is the rule of thirds, which has become a very common tool for amateur and professional photographers. The method consists of dividing the frame into thirds, vertically and horizontally (so they are actually ninths), and using those lines to effectively divide your image and separate areas of the image. The points where the lines intersect are considered key areas for the main objects in the frame.
This rule, while very simple, works really well when applied correctly. For example, in landscape photography, the horizon might cut across the frame along the bottom horizontal line, and the top of the ridge might cross the top horizontal line. Likewise with portrait shots, the eyes can be positioned at the points where the top horizontal line intersects the two vertical lines.
Step 4 - landscape composition
It is extremely important to use composition effectively when working with landscapes. The drama of a great landscape shot is based on composition and structure. Ask yourself what your shot will be about. About water, mountains in the distance, the horizon, sunset or rocks in the foreground? What elements do you want to highlight in the frame? Using the rule of thirds, try to make sure there are different levels in the frame, make sure you have an interesting subject in the foreground to add a sense of depth and scale to the image, and that the main focal point in the frame is clearly prioritizing.
Step 5 - Lines
Lines in an image are one of the most effective ways to brighten your frame. Horizontal and vertical lines create a clearly structured image, while curved lines are more relaxed. Consider where each line in the frame starts and where it leads. It is very effective to have a line in the frame leading the eye, for example, from the bottom corner through the image to the opposite corner. Paths, rivers, railroad tracks and roads can serve this purpose when used correctly.
When you work with horizontal and vertical lines in the frame, make sure that the picture looks clear, that the lines are straight. Believe it or not, how many photographs I have seen have been spoiled by a slightly slanted line, such as the horizon. Of course, it is possible to post-process the frame to correct these errors, but it is much better to practice well and correctly align it already during shooting.
Step 6 - Shapes
Once you understand the role that lines play in image composition, you can appreciate the influence of shapes. Try to distance yourself from what you are looking at a specific subject through the viewfinder and refer to the shape of each element in the frame. It is important to understand how the forms interact with each other. Strong shapes like triangles and squares are much easier to frame than softer, rounded shapes, but by evaluating how each element is formed, you can have a very powerful impact by presenting the shapes and their interactions as the main theme of the shot.
Step 7 - contrast
When it comes to your main subject, consider it in context and in relation to its surroundings. How do the colors, shapes, textures, and shades of the main focal point match their surroundings? If there is a strong connection between the two, you can play around with this and make it stand out in the image with composition, combining the subject with the environment. If the subject and environment are very different, try to use composition techniques to enhance those differences.
Step 8 - shaping the frame
Effective framing is the foundation of a strong composition. The natural desire is to place the main focal point exactly in the center, but this often looks strange and out of the way. Try positioning it closer to one side or corner to see if you can create context and relationships. It is worth noting, however, that portraits often look most vivid when the subject is centered. So you should experiment, don't make one single composition decision and don't stop there, explore all your possibilities.
Step 9 - negative space
It's important to take negative space into account in your image. When you are working with small objects, the tendency is to try and place the entire focal point in the frame. In fact, the composition of a macro subject is much brighter if you either fill the frame with the subject close to each other, or use negative space around it to allow the subject to breathe and harmonize with the surroundings.
Try experimenting with something as simple as a seashell, or see how you can change the composition if you don't just shoot in the usual way, but try to get closer, or, on the contrary, move away.
Step 10 - corner
When you are working with your subject, consider the angle from which you are shooting. Most often, the easiest way is to shoot the subject from the angle you see it, but as you work on the frame, explore different angles and approaches. You may find a more interesting way to express the main theme of the shot.
Step 11 - layers
Just as when working with layers in landscape shots, be sure to include some depth elements in your images. Bringing an interesting subject to the front is the easiest way to do this, but even using a zig-zag object will add a sense of depth and lead your gaze deeper into the image.
Step 12 - symmetry and patterns
Effectively exploiting symmetry and patterns can help create a truly powerful shot, especially when you're working with objects like architecture. Spend time exploring the subject and recognizing patterns and patterns (paying attention to shapes and lines). Find the midpoint and position the camera exactly perpendicular to the subject. Avoid distracting details that break symmetry or pattern and try to maximize the desired effect.
Step 13 - cropping
In this age of post-processing, if you suddenly come home and find that you did not compose the shot the way you want it, nothing is lost. Almost all image processing utilities now have a crop tool that you can use to crop out excess parts of a photo. You can do this with the aspect ratio locked (most photos today are 3: 2), or you can freely crop the frame to the shape you want to get, for example, to a square, or create a panoramic landscape frame by clipping the lower and upper levels.
Step 14 - Practice, Practice and Practice
So, we've explored a number of compositional principles that can really help you on your journey of creating stronger, more engaging images. As soon as you get the opportunity, practice using these suggestions. Whatever you shoot - landscapes, portraits, macro - there is always room for experiments to improve your composition, the chance to make your shot, at least a little, but brighter.
Just please remember that there are no quick and easy solutions to great shots. The above techniques can help you, but step over them is also not prohibited. When you decide you've figured out how to effectively put these principles into practice, feel free to start breaking the rules and photographing your subjects in the creative way you feel is best for you.
Thus, it is clear that composition is of great importance. But what is composition? Roughly speaking, this is a space where individual elements have to turn into one whole, and where images, text, graphics and colors are formed into a single design in which everything is combined with each other.
Successful composition assumes that you arrange the elements and distribute them correctly, and it not only looks beautiful on the outside, but also functionally efficiently. So let's go over the basic tips, tricks and techniques that will make you a composition guru in minutes.
1. Focus on the main thing
As we were once told in school, emphasis distribution is very important. A key element of any good composition is focus, as it helps the viewer concentrate on the most important design details first.
Methods for attracting attention include scale, contrast, and pointers, and we'll talk more about these later. Now let's analyze the above example.
2. Guide the reader's eye with pointers
Just as you point out something to a person that you would like to show him, guide the audience's gaze with a certain arrangement of lines and various shapes. This way you can achieve the correct perception of your design.
Most likely, you are already familiar with one of the most common types of pointers - schematic. Diagrams use lines to guide the eye from one point to another in a fairly obvious order. Take a look at this date card from Paper and Parcel. The designer decided to use schematic pointers to convey information in an interactive and unusual way.
In addition, they can indicate some kind of connecting elements of text or small pieces of information. As mentioned, you must first focus on the main subject; but where will you look after? By correctly placing the pointers, you can not only control attention on the main elements, but also direct your viewer's gaze throughout the design.
Let's take a look, for example, at a poster from Design By Day, which uses clear directional lines to guide you first to the main element (title) and then to different segments of text.
It certainly doesn't make sense to use such obvious pointers in every design, but that doesn't mean there is no other way out. Find some shapes and lines in the images and graphics used and use them in order to guide the viewer's gaze.
This can be seen in poster 1 Trick Pony, where the man's right hand is used to “redirect” the gaze from the image to the logo, and then to the bottom of the image. Thus, the shapes of the image can serve as pointers.
3. Scale and hierarchy
Scale and visual hierarchy are some of those creative underpinnings that can either ruin your design or make it look sweet. Therefore, it is so important to be able to use them correctly to create a successful composition.
In short, hierarchy is the structuring of items in order of importance. So, you can make the more important object of your design larger and brighter, and the secondary elements smaller and paler.
It is especially important to consider hierarchy when writing text. For more information on typographic hierarchy, you can refer to the article Why Every Design Should Have Three Levels of Typographic Hierarchy.
Scale is often used for the connectivity of hierarchy members. The large scale draws attention to certain objects, emphasizing their importance for correct communication.
For example, this poster by Jessica Svendsen uses an oversized image as the largest element to draw maximum attention to the subject. The headline is the largest text element and is the most important piece of information in a given context, while the rest of the text is written on a much smaller scale. Thus, the scale identifies the main design objects and preserves the typographic hierarchy.
Scale is also an incredibly useful tool when it comes to creating proportions and a sense of size. You can make certain things appear as detailed, intricate and small as possible, or you can make them large and even cumbersome.
By creating contrast between small and large elements in a composition, you can achieve a wide variety of effects.
4. Maintain a balance between elements
Balance is a pretty important thing in many ways. And, of course, your design is no different.
But how can you maintain this very balance within your own design? Let's quickly go over the two main types of balance and how to keep it.
First, there is symmetrical balance. Its essence is obvious - the balance of design is achieved through symmetry. By reflecting certain elements on both sides (right-left, top-bottom), you achieve absolute balance.
Here's an example of symmetrical balance. In her wedding invitation, Jennifer Wick uses a symmetrical composition where text and graphics are mirrored. Symmetry makes the invitation look elegant, neat and balanced.
Jennifer Wick
The second type, which is probably much more common, is asymmetric balance. Its name also speaks for itself - balance is achieved through asymmetric arrangement of elements.
Here's an example of the successful use of asymmetric balance. In his poster, Munchy Potato purposefully distributed circles of different sizes in different areas of space, thus achieving asymmetry.
In the example above, the three center circles are the largest design elements, but they are nevertheless balanced thanks to the correct font, graphics and the use of a small textured circle in the bottom corner of the poster.
To develop the skills to create an asymmetric balance, it is necessary to think of each element as a unit with its own "weight". Smaller objects, therefore, should "weigh" less, and texture-rich elements should "weigh" more than homogeneous ones. Whatever the purpose of your design, you must always achieve balance among the objects used.
5. Use elements that complement each other
You must have heard of complementary colors, but have you heard of complementary design elements? One of the key elements of a successful and effective composition is the careful, purposeful selection of each design object, in which everything should turn into a single whole.
A common mistake when creating a composition is using images that do not complement each other. Therefore, when you decide to use multiple images, always check if they have the right impact on the viewer and if there is the necessary connection between them. Here are some ways to achieve this effect.
Use pictures from one photo shoot. This is an incredibly easy way to make sure your images are coherent given that they are done in the same style and direction. For example, designers Jekyll & Hyde and Elena Bonanomi use this technique in one of the spreads of Must magazine.
Images must be in the same color range. Nowadays there is a wide variety of different filters and photo editing tools that can help you to make the selected images belong to the same color gamut and, therefore, are interconnected. A is a Name made his poster completely black and white to achieve color communication between objects.
A is a Name
Choose similar pictures. Try to combine images with similar parameters and style. For example, if one of the photographs is taken in a minimalist style, you should use similar pictures. Below is a design solution by Feint, where in all the selected images one can observe certain "irregularities" - various textures, wood motifs and cold shades.
Creating a good layout also involves the right mix of text and graphics, where these elements complement each other. Each typeface in a different environment has certain shades and associations - for example, a crisp, cursive typeface with lots of curls can be associated with elegance and sophistication. Therefore, try to choose a font depending on your own goals and intention.
6. Increase (or decrease) the contrast
Contrast is an incredibly useful tool, both for highlighting some elements of your design, and for hiding them. By enhancing the contrast, or using a high-contrast palette, you can draw attention to a specific subject. At the same time, by decreasing the contrast, you can achieve the effect of transparency for some elements, making them less visible.
While the previous design uses a resonant color to draw attention, the next example uses it to hide a specific element.
It repeats some of the font styles, graphics, and linearity to help link elements together and achieve the desired effect. If the author of the design suddenly decided to use somewhere in the middle of some drawing pink elements with bold lines, there would be no question of any coherence. But she decided to use a small size for the text, minimized the color gamut and kept the graphic elements neatly simple, so the design turned out to be successful.
When developing your design, write down all the information about the fonts, lines, colors, etc. used, and try to reuse them to combine your layout into a coherent whole.
8. Don't forget about white space
To offend white space, it is enough to call it “empty space”. The void suggests that it must be filled with something, and therefore it does not "do its job" properly. But they are not the same thing.
When white space is used purposefully, it helps increase the clarity and clarity of your design: when the more stressed and intricate parts of the composition are balanced with white space, your design begins to breathe.
Take a look at the design by Cocorrina, for example. White space helps to achieve a balance between picture, texture and text, which gives design sophistication and purity.
So what's the best way to use white space?
Decrease the scale of the graphics. This will allow you to create more white space around the center pieces without going beyond the original design. For clarity, take a look at Serafini Creative's recipe card design, where key elements are purposefully scaled back to create a beautiful white space frame.
Don't try to fill all the white space. As said before, white space is not an empty space, it serves a specific purpose, so don't try to fill every piece of it.
An example is a website design by Creative Web Themes, which uses a single image, a bold heading, two small lines of text, and a link to further information to present a product. With such a simple layout and so much white space, each element has its own territory and can breathe, which allows the design to look neat and have the desired effect on the viewer.
When designing, always ask yourself if all the elements are 100% necessary. Is all this text necessary, is a bright blue heading required, are all 3 images needed? By removing clutter from your layout, you can create a more accurate design that benefits from white space.
9. Line up design elements
When creating a composition that includes many objects, do not randomly place them on the page, because arranging elements is a quick and easy way to turn your design into candy.
Can't build objects? Canva can help you get rid of this problem in just a second with a special automatic and very convenient tool. Just drag and drop an element across the page and Canva will align it with other design objects and automatically position it where you want it. Magic!
Take a look at this perfectly aligned magazine design by Huck. Due to the clear construction of elements, the design looks distinct and precise, it is very easy to read and pleasant from an aesthetic point of view.
Consistent and clear alignment of elements will also help you arrange a certain order among many objects. So, if you are using a lot of images, text and / or graphics, alignment should be your best friend.
The ability to apply alignment when working with text is especially important. There are many ways to do this, but left alignment remains one of the best, as for most viewers this is the most readable and comprehensible option.
10. Divide the design into thirds
The Rule of Thirds is a simple technique that designers can use to split a layout into 9 equal parts. Focus points are where the vertical and horizontal lines intersect.
Designer William Beachy decided to play with this rule in his works (example below). Its design is eye-catching and eye-catching with a specific focus point at each intersection. Beachy also notes that "When you place objects outside the center of the design, but on the periphery, the picture becomes lively and interesting."
Using the rule of thirds will help improve the composition of your design, as it is one of the quickest and easiest ways to place and structure elements.
If you want to use the rule of thirds in your design, it is advisable to start with a grid. The grid will allow you to arrange elements more consistently and see how the focus points should be placed on the layout. You can watch the tutorial on how to use Canva's layout tool to help you structure and organize your designs.
If, after long hours of design work, it finally seems effective to you, try to mentally divide it into parts and see the deep structure. Is there a division by thirds? Or is it being built based on a different markup? Either way, you can browse through the various markup examples and draw inspiration from them.
A message to the reader
There are many things to pay attention to when creating a composition. If you are still a beginner designer, you will most likely have to put in a lot of effort and spend a lot of time trying to organize and rescale objects, then re-layout them again, etc., but that's okay.
Do you have any tricks for working with composition? Or perhaps you know some examples of highly effective composition designs? Anyway, feel free to share your thoughts and ideas on this in the comments!
