Basic synthesis, episode 2

Weekend! At last, I can post.

We are still in the composition "chapter". Which has three parts:

-basic elements (studied from Kandinsky's theory, as mentioned last time)
-applied composition 
-color composition (to be covered later)

Let's start with the "juicy" part. Here is a great video playlist about applied composition basics. It is a photography playlist, but most of it teaches generally applied composition. I'm posting the most basic of these videos here.

 

 

But I would highly recommend watching the rest of his videos. They are short and spot-on.

Now, back to Kandinsky...I finished his book, which is sort of a "grammar" for art. I am posting my notes below (not phrased exactly as in the book-they are personal notes on it)

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Forms of all types may consist of three basic forms: point, line, and plane (usually the two first forming shapes on the latter)

General notes

-What gives strength to the elements of a picture, is the tensions between them. Tensions give internal expression to the matter, and bring it to life.

-Synthesis problem: how many elements are necessary at an artistic piece?

-Synthesis= the necessary submission of (1) isolated elements and (2) structure to a certain artistic purpose. (if the harmonic echo of the elements is responding fully to the artistic purpose, then it is synthesis itself)

Points
-Points can express: timelessness, stability, lack of motion, fullness

-A point can add tension to the picture, regarding its relevant position and distance from the other elements of the picture.

-Even points may have different shapes and colors.

-Points are used visually in many things (literature/full-stops, music signs e.t.c) But when we isolate a point from everything else, we strip it from all previous meaning, and its free expression comes forth. 

-When is it a point and when a circle? If its size is comparable to the surrounding lines it is a dot, if its size is thicker than surrounding lines it starts looking like a circle.

-The meaning of a point may be translated with two ways: as an internal or an external concept. Externally, every drawing or artistic form is an element. But, internally, what makes a symbol isn't the form, but the living tension it contains. The content of a painting isn't defined by the external forms, but by the forces-tensions living in these forms. Otherwise, any random collection of forms would be an artistic piece. The content of a painting is expressed with synthesis, meaning the organized sum of the desired tensions.

-Points can also expressed as edges of peaks

Lines
-The repetition of lines introduces rhythm in the picture. Varied distance shows change of rhythm, multiplied identical items = enhanced impact of their rhythm, similar items = focus on the quality of their echo.

-The length of the line responds to a sense of duration.

-Horizontals are considered "cold", verticals "warm".

-The curve, not the crooked line, is the opposite of the straight line. It is consisted of a single line that carries two cooperating forces, plus their resulting one. The crooked line is a path of straight lines guided by alternated forces.

-Also, this is why curves triple the tension in comparison with the straight line.

-Varied line thicknesses express variety of tension. By thinning out a line we are guided closer to a point and tension is raised. (Personal thought on this: it looks like thickness=tension of matter and peak=tension of spirit)

Plane

-A plane can also have an aesthetic echo, not only the elements on it.

-It is consisted of 2 "warm" and 2 "cold" lines. The dominance of one of both makes the plane "warmer" or "colder".

-Diagonals: The sides of the plane have certain visual "resistance". Top-left corner is the "lightest" and bottom-right the most "heavy". The amount of resistance is hence raised from top-left to bottom-right. The top-right and bottom-left have a "weight" that's in-between. Going further, diagonals travelling from the light to the heavy corner give "dramatic tension", and diagonals between the intermediate corners give "lyric tension".

-Vertical and horizontal antithesis are considered intense, while diagonals are seen as less intense. 

-The center is neutral, all tension leaves from it.

-"Up"= flexibility, feeling of lack of weight, impression of movement. "Down" is more stable and consistent.

-Freedom of movement is reduced from top to bottom. But the dynamics can be countered by putting the heavier forms on top.

-Moving/exiting leftwards: has a "risky" echo, it is a movement towards "far away". Man leaves his usual environment, free from his everyday problems (tension-rapidity)

-Moving/exiting rightwards: return. Going towards home. The tension becomes thinner and the movement is reduced. 

-Two types of engagement: (1) elements are connected materially with the plane and highlight its tension. (2) elements have a relaxed relationship with the plane, so that it almost disappears, and they wander in a no-border space.

-The elements going forwards and backwards expand the plane accordingly.

Colors

-Passive/horizontal = black or blue, active/vertical = white or yellow

-Free lines: going forward is associated with yellow, backwards with blue

-Red shows internal tension, and is associated with diagonals, planes and squares (also, sometimes gray, green)

-Shapes: they are consisted of  (1) horizontals = black = blue (2) verticals = white = yellow (3) diagonals = red. So: triangle=(b+y+r)-b-r=yellow, square=(b+y+r)-b-y=red. Circle has passive tensions, so = blue.

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His color theory seems a bit dated. Which I've heard it is true, and have to search it further. But no worries, because color composition study is up next! 

However, there will be a little extra thing before that. I were just tasked to make a logo. So, we will halt theory for a little bit and get into action!