Rhythm in composition: description, shape, types and features

The most important means for organizing various elements of form in harmonic unity, for ordering each of them and for accurately locating in the overall structure is the rhythm in composition that is inherent in all forms and phenomena of nature, even labor processes. The composition of life in all its diversity, of course, is rhythmic.

What is rhythm

In the composition this is the uniformity of the alternation of the size elements, the order of the combined lines, planes and volumes. The rhythm can be shown both chamber and monumental, it can influence the mood, filling it with joy, solemnity, peace and so on. All human feelings are subject to rhythm, it is perceived both visually and by ear. Moreover, any static object is rhythmic in its own way. For example, in the architecture of the distribution of columns, windows vertically or horizontally - this is the sustained rhythm in the composition. In nature, it is everywhere: it is the waves on the river, and the surf, and raindrops, and gulls over the water - you can find the rhythm anywhere, wherever the glance falls.

Or the repeated motifs of the ornament of the fabric, wallpaper, carpet - they are absolutely rhythmic. But the rhythm in the composition is especially bright, if nature was its creator - its animal and plant world is unique and infinitely rhythmic. As obediently follows the eye from the strip to the strip on the cat's muzzle, with each repeated element more and more clearly perceiving these rhythm and meter in the composition. In the same way, the dance elements, the dimension of the poem read aloud, the music heard are held together. And how rhythmical are the faces of the diamond in the precious ring!

Capabilities

Composition, dynamics, rhythm - all these are quite specific, allowing to significantly change the characteristics of the elements of the form through the regularity of alternation of divisions, volumes, faces, and therefore they are used not only and not so much by painters as by designers invading our everyday and festive life - And industrial, social and intimate.

Rhythmic pattern plaid, ornament vases, cherries on the cake, as well as slender rows of machines at the weaving factory and painting walls and ceilings in the shop, even the buttons on any control panel are located rhythmically. The simplest manifestations of the rhythm and the most complex manifestations are equally realized in the characteristic repetitions of the same forms in the same intervals (antique columns, for example, balconies and windows of any building), this can be observed everywhere. Rhythm is a means of composition, it can be calm and disturbing, differently directed, depending on what the creator has set for himself.

Using

Directed in one direction rhythm, found in the technique of the ornamental border and converging in the center, like patterns of a tray, tablecloth, molded rosette on the ceiling or a picture of a box, can be vertical and horizontal. Vertical has less compositional complexity, because all changes in rhythm already contribute to visual completion. And horizontally it is more difficult to build a composition - rhythm, symmetry are problematic both in the beginning and in the end.

If the division takes place often, the rhythm turns out to be restless, horizontally they visually reduce the height of the object, vertically - on the contrary, the object looks even higher. The desired can be obtained only with the correct use of all those possibilities that convey the rhythm to the artist, which must necessarily be thought through and felt: this alternation of color spots, volumes, elements, details, directing the movement of the view accordingly conceived. Everything is important here: shape, rhythm, color, composition, dynamics, space.

Organization of composition

The more the rhythmic pattern is stronger in the composition, the more actively the space is organized. The rhythm is less pronounced if the changes in the alternations or in the form of the elements themselves are not noticeable, but if the changes are active, then the rhythmic beginning can become fundamental in the composition. Very widely, for example, color is used to create rhythmics: in factories it is played quite often in the coloring of rooms, workplaces, communications, even uniforms. Thus, a certain color climate is created.

The simplest forms of rhythm, as well as symmetry, are loved by Russian folk art. More complex rhythmic patterns can be characterized by patterns of change in forms, as well as intervals between forms, or both simultaneously change. The meter, that is, the equality of elements that are located at equal distances, like bridges, very actively cooperates with the rhythm. Hence come three categories - rhythmic order, metric order and metrorhythmic order, which determine the types of rhythms in the composition.

Metric orders

The never-ending repetition of this or that metric series can quickly become boring, seem tedious and monotonous. To solve this problem, there are rhythms that decrease and increase, as well as different metric orders in the composite combination. Applying these techniques, you can achieve the necessary diversity and not lose the unity at the same time. It must be remembered that the rhythm is the movement of the composition.

The definition of rhythm is the alternation of elements. If we are talking about composition, then uniformity is needed. And the uniformity of the alternation of elements in a composition is called a meter. The simplest meter is the same elements and spaces in size. If the intervals change, the complexity and expressiveness of the rhythm increases. Alternation can occur with regular acceleration or deceleration, and also without regularity and regularity, when there is no meter between the elements. Nevertheless, there will be a rhythm in this composition.

Composition in the interior

It is not enough to find a beautiful parquet and wallpaper, buy lamps and arrange furniture, so that the interior turns out to be an extraordinary and at the same time harmonious. Otherwise, the room may well look like a branch of a furniture store. It is necessary to use the laws of building artistic composition. What is it?

This is the connection of all parts present in one whole with the help of an idea. Then the form will be exact and harmonious. For the decoration of the interior you need the same knowledge as for writing oil paintings. First there is an idea. Here any of these concepts can serve as an idea: symmetry, asymmetry, dominant, rhythm, statics, dynamics. You can choose one thing. And then think and add something else.

Symmetry

When the elements in the composition are equally removed relative to the axis - this is the symmetry that is usually perceived by the eyes as order and harmony. Man is born symmetrical, that is why he aspires to some kind of mirror in the environment.

However, the balance of the interior does not lie in two identical sofas facing each other. Here, tone and scale are important. The symmetry is also influenced by the location of architectural details - doors and windows, corners and niches.

Asymmetry

Asymmetry on the structure is opposite, it means - it must subconsciously cause some anxiety. Wavy walls, sharp corners, inclined planes and should be strained. For example, a residential interior is not a very fertile field for experiments, and therefore it is better to fill the space symmetrically, but add asymmetry to the asymmetry.

You can diversify the picture of the interior, contrasting massive furniture and medium-sized (scale), you can combine dark surfaces with light, muted colors with bright. If the furniture is symmetric for some reason is not installed, then you need a eye-catching center - a group of fixtures or a fireplace.

Rhythm and dominance

The movement, which can continue indefinitely - this is what will be the rhythm in the interior. Horizontally - it's belts, friezes and cornices, vertically - arches and columns. In the interior - a group of furniture, often sets a certain rhythm. Gorgeous reception - a breakdown of rhythm. For example, in a row of white identical chairs, suddenly one is the same, but black or colored. Rhythmic composition is good, if the color fades, not moving away, and approaching the viewer.

Dominant - the visual center, the first conspicuous, only then the person starts to see and consider the rest. The dominant can be expressed in color or in scale. Nevertheless, the dominant must necessarily be in close connection with the rest of the elements, otherwise the composition will fall apart. That is why the color of the dominant should be supported with accessories or textiles. And of course, the dominant is not at all a center in the literal sense of the word, that is, it can be located anywhere, and not necessarily in the center of the room.

Statics and dynamics

Statics is the absence of diagonals and non-linear surfaces, where horizontal elements predominate: low cabinets, heavy and deep sofas - everything that looks at looks stable and squat, stable and balanced. Most often so decorated interiors in a classic style. However, a static interior does not mean boring. Usually there are a lot of possible experiments on decoration and selection of accessories.

In a room where the presence of youth and fun is supposed, it is possible and necessary to add elements accompanying the dynamics, that is, the movement. Here we use asymmetric furniture arrangement, precise geometric shapes, lots of free space, diagonals in the layout of tiles or parquet. Vertical lines will create a feeling of lightness, flight, aspiration up. Dynamic interiors like modern style, because the violated laws of composition in interiors appeared quite recently - in the twentieth century.

The artists

Painters use rhythm not only as the beginning, organizing the composition, but also as an aesthetic component of the whole work. It is with the help of rhythm that it acquires the properties of music and poetry, which are inseparable from artistry. The effectiveness of the rhythmic principle is based on the main laws of composition, on contrasts - color and tonal in painting and volumetric in sculpture. Simultaneously, the rhythm separates one component from another, and ties them together - all according to the law of contrast. Hence the law of wholeness, and even the compositional law of life itself.

The artist penetrates into the inner movement, not limited to the external. With the help of rhythm, that is, a certain order in the image of ordinary objects, the aesthetic side of the image is underlined, the beauty of both familiar objects and new ones is revealed.

Each work - the opening of a new picture of the world, and foreseen, and foresight is born from the work of the rhythmic beginning. Repeat, constantly present, recalls the past and prepares for the next.